Eddie Adams and Stacy Pearsall

My focal photographer choice was partially by chance because I wanted to find out who took the "Saigon Execution" photograph. Little did I know, that it was taken by a well respected photojournalist named Eddie Adams. I wanted to find a photographer who had a similar work as Adams and it was quite difficult looking for one. However, to the best of my abilities, Stacy Pearsall was the closest photographer that emulated Adams.

Background
Adams became interested in photography during his teenage years. Doing portrait and wedding photography, he decided to take his passion elsewhere. He enlisted in the United States Marine Corps and spent three years as a combat photographer during the Korean War. Noted for his celebrity portraits and coverage of 13 wars (including the Korean War), Adams was a Pulitzer Prize winning American photographer and photojournalist, known for the photograph "Saigon Execution" (Figure 1).

I personally believe that, combat photography is the most dangerous type of job for photographers. They are soldiers armed by photographic equipment, instead of firearms and they are photographers who are trained for war. One can say that it is profession which is bittersweet. Combat photographers are placed in the most difficult situations, most of the times being in the middle of a gunfire, but they are able to take the most controversial, yet beautiful pictures during wartimes.

Figure 1 - Saigon Execution: A picture of General Nguyễn Ngọc Loan executing Nguyễn Văn Lém on February 1, 1968 in the Vietnam War.

This picture caused a lot of controversy which Adams did not mean to cause. For those who do not know the real story or meaning behind this picture, it is obvious to conclude the inhumane act that General Loan showed when this picture was taken. However, that was not the case. Lém was actually a Viet Cong lieutenant prisoner who murdered a South Vietnamese colonel, his wife and their six children ("Newseum"). After this photograph was published, Adams said "Photographs, you know, they're half-truths." He apologized to General Loan, in person, for the humility and irreparable damage it caused to the General's honour and Adams later acknowledged him as a "hero" of "just cause".

Stacy Pearsall

Pearsall's military background is associated with the long line of military men and women in her family. Her great-grandfather was a Marine in WWI, her grandfather served in WWII and her father was a Navy-man in the Vietnam War era. She joined the Combat Camera Squadron in January of 2002 and was taught by other competitive photographers. Four tours later, she has awarded two Photographer of the Year (2003 and 2007) by the NPPA, and she is one of only two women who has won it since 1967. She was medically retired after being injured in 2003 and 2007 while serving in Iraq (Pearsall).

I found Pearsall's work enticing and captivating, and I feel as if I am where she was when she took the picture. Although it does not have the black and white affect that are found in most of Adams' photographs, it still shows the wonderful point of views that a combat photographer sees. I would not classify Pearsall only as a photojournalist because she also some art photography which she has some of her comrades posed in certain positions, and there are also some pictures which have been clearly edited.

BROTHERHOOD SERIES

Figure 2 - U.S. Army Spec. William McGrath and Spec. Daniel Brothers launch a grenade toward enemy fighters after coming under fire in Buhriz, Iraq, on Feb. 15, 2007

Figure 3 - U.S. Air Force Airmen transfer wounded military personnel form an ambulance to a C-17 Globemaster III aircraft in Baghdad, Iraq, on June 22, 2003

The 'Brotherhood' series definitely sends an impact to those that are away from home, those that are away from their loves ones and those who are not sure if they are coming home. Figure 2 is a perfect picture when it comes to support. Just having the focus on the two soldiers shows that they are brothers in arms. War overseas can sometimes be hard for the men and women serving in the army. They have no one to rely on but each other in times of happiness, being homesick and pain. So not only are they brothers in arms, but they are also there for emotional support. Figure 3 shows a picture of relief. The perfect centered backdrop of the sunset shows that at the end of the day, regardless if the soldier is wounded or not, they are always there for each other. In addition, I also think if Figure 3 did not have a caption, a viewer could conclude that a soldier has died in action. It goes to show that captions help give meaning to the photograph.

OPERATION IRAQ FREEDOM SERIES

Figure 4 - While searching for al-Qaeda and Ansar al-Sunna forces, members of the Multi-Iraqi Transitional Team, 4th Battalion, 2nd Brigade, 5th Division, question the locals during Operation Orange Justice in Buhriz, Iraq, on Feb. 10, 2007

Figure 5 - An Iraqi soldier from the 2nd Battalion, 2nd Brigade, 5th Division, tries to kick open a gate during a cordon and search for insurgence and weapons caches in Chubinait, Iraq, on Feb. 3, 2007

Figure 6 - A local Iraqi woman cries after her husband is detained during Operation Brown Hawk in Tahrir, Iraq on Feb 27, 2007.

The 'Operation Iraq Freedom' series is one of Pearsall's best work. It shows the struggles of Iraq during the war and how its people is being affected. Personally, I think that it is hard for Iraqi soldiers to hunt down their own people and it pains them to see their own people suffering because of the war. They should be united as a nation, however, due to conflicting beliefs, they are divided. Figures 4 shows innocence in terms of the people being interrogated about the location of people they are associated with. You can see the full cooperation of the gentleman on the right. I believe that he's being cooperative for the sake of his family. Figure 5 captures an action moment of an Iraqi soldier breaking down a door. I think that this picture was taking at the right place at the right time because it portrays that a cordon and search operation is no joke and should not be taken lightly. The black and white effect in Figure 6 definitely captures the pain and sadness that the Iraqi woman is going through as she watches her husband being detained. I believe that Iraqi women who are involved with men who are detained are heartbroken not because of the actions that their husbands took part in, but because they may never see their husbands again.

Sources

"1969 Spot News: Edward Adams, The Associated Press." Newseum. Newseum, n.d. Web. 29 Nov 2011. <http://www.newseum.org/exhibits-and-theaters/permanent-exhibits/pulitzer/videos/1969-spot-news-edward-adams--the-associated-press.html>

"Eddie Adams: Biography." N.p., 2004. Web. 29 Nov 2011. <http://www.answers.com/topic/eddie-adams-1>

Goldberg, Jonah. "There are Tears in My Eyes-Eddie Adams & the Most Famous Photo of the Vietnam War." National Review Online. N.p., 1999. Web. 29 Nov 2011. <http://www.nationalreview.com/articles/204511/there-are-tears-my-eyes/jonah-goldberg>

Pearsall, Stacy. N.p., n.d. Web. 29 Nov 2011. <http://stacypearsall.photoshelter.com/>

Photo Journal 2 - Art Photographs VS. Press Photographs

ART PHOTOGRAPHS

Art Photography or Fine Art Photography refers to photographs that are created in accordance with the creative vision of the photographer as artist.

Minkkinen Arno Rafael, Le Bouquet d'Arbres, Malmo Castle Prison, Malmo, Sweden, 2007 Vintage silver print 8.5 x 5.75 inch, Courtesy Robert Klein Gallery

Christian Houge, "Oleg" C-print , 66 x 200 cm, Limited edition of 7 a Courtesy Christian Houge and ellen-k FINE ART PHOTOGRAPHY

PRESS PHOTOGRAPHS

Press Photography or Photojournalism is a particular form of journalism that creates images in order to tell a news story.

The general news singles category was won by the Brazilian photographer Luiz Vasconcelos, of Jornal A Critica/Zuma Press, showing a woman who tries to stop the forced eviction of her people in Manaus, Brazil, on 10 March, 2008.

Chinese photographer Chen Qinggang won first prize in the spot news singles category for "Rescue troops carry earthquake survivor, Belchuan County, China, 14 May."

DIFFERENCES & SIMILARITIES

     One difference between Art Photography and Press Photography is that Art Photography seems to have little or no expression and, Rafael and Houge's photos clearly depicts this. The mood of the picture somewhat feels monotone and the feeling or thought that one feels when looking at these types of photographs seem linear. Art Photography makes viewers see what the photographer is seeing at a particular point in time. The image taken does not suggest any after thought or post-reflection on the picture. For example, if a photographer takes a photo of a tree, there is no other way to further expand on what you feel about the picture besides thinking if it is a nice tree or not. Press Photography is the opposite of this because these types of images provokes the viewer's mind and to make them feel a spectrum of emotions, which can be seen in both photos by Chen and Vasconcelos. Press Photography captures the emotions within its frame and makes viewers feel this strongly. It also allows viewers to think outside of the box and wonder what possible things, good or bad, are happening just by looking at the picture. Also in terms of titles, Art Photography tends to have the vaguest titles compared to Press Photography, which have detailed captions explaining the photo.

  Another difference between Art and Press Photography is that there are guidelines that Press Photography have to abide to which are outlined by the NPPA (National Press Photographers Association). They are constricted to interfere with their subjects, unlike Art Photography, where most photographs are staged. There is more freedom associated with Art Photography because photographers are able to take photos and add an artistic touch to it. Press Photographers are not able to have this artistic touch. Their photos are simply based on their instincts, and their images are of the moment. Henri Cartier-Bresson, the godfather of photojournalism, even says that photojournalism is a speedy medium. Because they have to rely on their instincts, action shots are used often. Press Photographers are often in the middle of a conflict or a crisis, and sometimes in more come and peaceful situations. Art Photographers create the tone in their images.

ETHICS AND ART PHOTOGRAPHS

  The whole idea of Art Photography is to alter the scene and/or the subject. It can be from adding objects into the scene or simply asking the subject to pose or do an action for the camera. Art Photographers also rely on digital imaging tools and a wide variety of other photography tools (different sets of lighting fixtures, flashes and lenses). Altering Art Photographs can include from changing the brightness, contrast, tint etc. of the image and this is ethical and accepted in the world of photography. However, it is not ethical to alter another photographers work without consent.

ETHICS AND PRESS PHOTOGRAPHS

  As discussed previously, Press Photography is constrained by the NPPA to alter their images. They are allowed to make minor alterations, however, it must not affect the context of the photograph. Changing the photos also distorts the message of the image that is being shown by the photographer. Cropping something out of the photo is not allowed according to the NPPA. Westbrook says, "A shot of an individual rioter breaking a store window can look like an isolated act of criminality if the photojournalist does not show it in the context of a larger social event whose significance goes beyond the individual act." By altering a photograph, a photographer loses their integrity because they are providing a false image of the truth.

SOURCES

Friend, D. "Cartier-Bresson's Decisive Moment." The Digital Journalist. Retrieved 3 Nov. 2011 from <http://digitaljournalist.org/issue0412/friend.html>

"NPPA: Code of Ethics." National Press Photographers Association. Retrieved 3 Nov. 2011 from <http://www.nppa.org/professional_development/business_practices/ethics.html>

Westbrook, D. "A Brief History of Photojournalism." Photography Schools. Retrieved 3 Nov. 2011 from <http://www.photography-schools.com/photojournalismhistory.htm>

Shooting The Truth: Photojournalism

By Divina Mojica, WeiLong Li, Jessica Sunico & Arwin Prudenciado

What's the role of photo journalism?

The role of photo journalism is to visually inform the public with what is going on in the world around them. The phrase “A picture means a thousand words,” is quite an accurate definition of what photo journalism represents. When someone looks at a picture there are a variety of responses that they can have. These photos are strictly used to enhance a story and bring more of a realistic element to it.

Are there rules that photojournalists should follow? Why? Why not?

Yes. There are rules that photojournalists should follow.

There are nine standards from the National Press Photographers Association (NPPA) Code of Ethics.

1. Accurately represent subjects
2. Do not be manipulated by staged photos
3. Avoid bias and stereotyping in work; provide complete information and context
4. Show consideration for subjects
5. Avoid influencing the actions of the photographic subject
6. Editing should not give the wrong impression of the subjects in the photograph
7. Do not compensate persons involved in photographs or in getting a photograph
8. Do not accept gifts or other favors from those involved in a photo
9. Do not purposely interfere with the work of other journalists

Also, we need to focus on the ethics violations. Everyone has right to keep their secret. How could someone just hide himself and wait to catch the photo about other people’s front wheel of bicycle fall into a puddle, and then his body fall on the ground? However, how about people accidentally catch that second and want others to think?

Although we have lots of photo editing software now, the photojournalism ethics are still important for photojournalists.

Is the ethics of taking journalistic photos different than the ethics of writing a news story?

According to the Society of Professional Journalists their Code of Ethics includes 4 areas:

Seek Truth and Report It - Journalists should be honest, fair and courageous in gathering, reporting and interpreting information.

- Test the accuracy of information from all sources and exercise care to avoid inadvertent error. Deliberate distortion is never permissible.

This is similar to point number 1 of the NPPA Code of Ethics.

- Avoid misleading re-enactments or staged news events. If re-enactment is necessary to tell a story, label it.

This is similar to point number 2 of the NPPA Code of Ethics.

- Support the open exchange of views, even views they find repugnant.

- Avoid stereotyping by race, gender, age, religion, ethnicity, geography, sexual orientation, disability, physical appearance or social status.

These are similar to point number 3 of the NPPA Code of Ethics.

- Never distort the content of news photos or video. Image enhancement for technical clarity is always permissible. Label montages and photo illustrations.

This is similar to point number 5 of the NPPA Code of Ethics.

- Make certain that headlines, news teases and promotional material, photos, video, audio, graphics, sound bites and quotations do not misrepresent. They should not oversimplify or highlight incidents out of context.

This is similar to point number 6 of the NPPA Code of Ethics.

Minimize Harm - Ethical journalists treat sources, subjects and colleagues as human beings deserving of respect.

- Be sensitive when seeking or using interviews or photographs of those affected by tragedy or grief.

- Show compassion for those who may be affected adversely by news coverage. Use special sensitivity when dealing with children and inexperienced sources or subjects.

These are similar to point number 4 of the NPPA Code of Ethics.

Act Independently - Journalists should be free of obligation to any other interest other than the public's right to know.
- Be wary of sources offering information for favors or money; avoid bidding for news.

This is similar to point number 7 of the NPPA Code of Ethics.

- Refuse gifts, favors, fees, free travel and special treatment, and shun secondary employment, political involvement, public office and service in community organizations if they compromise journalistic integrity.

- Deny favored treatment to advertisers and special interests and resist their pressure to influence news coverage.

This is similar to point number 8 of the NPPA Code of Ethics.

Be Accountable - Journalists are accountable to their readers, listeners, viewers and each other.

- Never plagiarize.
- Abide by the same high standards to which they hold others.

This is similar to point number 9 of the NPPA Code of Ethics.

In summary, taking a journalistic photo and writing news requires the same set of ethics.

What's the impact of altering press photographs? Should they be edited (at all) in post production?

The impact of altering press photographs is that it distorts what the photographers or editors

want the viewers to see from what has actually happened. Altering press photographs not only includes digitally manipulating them after they are taken. It also includes photographing scenes that are staged by another individual to make it seem like something important has happened, photographing scenes that are staged by the photographer themselves and giving false titles or misleading captions that has nothing to do with the photos. By altering press photographs, this creates a false image to the minds of the viewers. They may not realize it at first, but there is a possibility that their mindsets will be affected in their daily lives. For example, a photo of a man from Afghanistan in front of an explosion. This can change a viewer's opinion about all Afghan men, subliminally making them think they are all terrorists. Also, altering photographs has been around for a while and digital manipulation only makes it easier. Political figures altered photographs for propaganda.

Before and after picture of Joseph Stalin with and without Nikolai Yezhov.

A citizen of Tyre who appears to be dead (as implied by the caption) but is only feigning death.

Pictures of a Hezbollah gunman who apparently caused an explosion. However, taking a closer look at the flames, it is only a pile of burning tires.

Photographs should be edited but only to the extent that they do not distort the actual meaning of the photograph. Minor edits should only be changing the contrast and brightness as such. The edits should improve the quality of the photograph, but not bend the context of the photograph.

Resources
http://www.media-awareness.ca/english/resources/educational/teachable_moments/photo_truth.cfm

http://photography.lovetoknow.com/Photojournalism_Ethics

http://zombietime.com/reuters_photo_fraud/
http://en.wikipedia.org/wiki/Photo_manipulation

http://www.spj.org/ethicscode.asp