Showing posts with label Photojournalism. Show all posts
Showing posts with label Photojournalism. Show all posts

Wednesday, 18 April 2012

Buy Something


There are many ways to help support independent journalism and freelance photographers like myself and the options (that I can think of) are listed below!

Prints and other things

You can purchase any of my images, in digital format, print (any size) framed or unframed, create a calender, make T-Shirts, coffee mugs and the list goes on...just click on this link: Susan's Smug Mug
Scroll through the categories and images until you find something you like! 

My Book: The Crossing Borders Project
This book are the results from a project in The West Bank of Israel, Aida Refugee Camp women, Ramallah Women and Ramallah Teens.  The Crossing Borders Project conducts photography workshops with groups who want to generate their own voices through documentary photography and tell their own stories rather than the mainstream media doing it for them. This project humanizes the human, reflecting realities on social and Human Rights injustices.  This book is 84 pages, full color images and soft bound, printed in Italy.  Please click on S. Brannon Photography website to preview the book and to order!  If you like any of the images in the book for print, please contact me  to inquire.  This is the first in many series regarding the results of The Crossing Borders Project.

Take one of my Photography Workshops or Photo Tours
To view details of the Photo Tours or workshops click on S. Brannon Photography Workshops website
I currently am offering:

  • 1/2 day and full day photography tours in Florence and Rome, Italy
  • Three day workshops in Tuscany, Italy based in Florence
  • Five day workshops in Tuscany based in Siena or Florence; in Israel and Photojournalism workshops in the West Bank.
Hire Me!
I currently work under contract for non-profit organizations to assist with visibility, media, and communications.  If you are a company who would like some assistance, please contact me.
I have worked for the World Bank, various United Nations Agencies, Reuters, Ap, ANERA, A-Mid East,  Lutheran Foundation,  Eritaj Foundation, World Trade Center and have been published worldwide.

Wednesday, 11 April 2012

All About Journalism


Below are links to journalism related articles on this blog.  This was a page, now its a post (due to the new design...and I can't revert...at the moment)  So...check back once in a while to see what is new!

Propaganda: Egypt Opens Gazan Borders
When first read the article  “Egypt Gazan Borders Opens Permanently “Egypt Gazan Borders Opens Permanently” on the Huffington Post, I was ready to go outside and dance in the streets and then I wondered why others were not going outside and dancing? This was good news!

History is defined as, “a record of narrative description of past events”, “all that is remembered of the past as preserved in writing; or images; a body of knowledge”...

In one of the early Digital Conferences, the Rev. Don Doll, S.J. pointed out that there are degrees of changes that can be done electronically to a photograph....

Honest photographs can have an ethical dimension when it concerns the personal ethics of the photographer. Did the photographer violate some ethical standard in the process of making the picture?...

Visual journalists operate as trustees of the public. Our primary role is to report visually on the significant events and varied viewpoints in our common world....

Copyright SBrannonPhotography © 2011

Wednesday, 27 October 2010

Propaganda and Historical events


History is defined as, “a record of narrative description of past events”, “all that is remembered of the past as preserved in writing; or images; a body of knowledge”

The problem with history is that the stories are told based on the communicator’s perceptions of the events.  For example, if I were an immigrant in France and there are huge protests against the French treatment of immigrants, my side of the “story”, or “historical account” would be different than the French policeman that is blocking the demonstration.

If journalism is supposed to record events that are taking place, which can be used for our future historical records, as journalists we are supposed to try our best to “remain objective” and provide information on we observe then relay that “story” to the general public.

However, a journalist in a specific area cannot cover everything at once in the region. Journalists can only record bits and pieces of what they experience and observe based on where they are located at that particular moment.  These stories become “pieces” of the story and not the entire “story”.  At least this is the reality.  If a person wants to understand the entire story, then one must read articles from different journalists who were there at the same time, but possibly running around with the policemen and not the protesters.  The alternative for the journalist is to observe the demonstration from the sidelines, and then interview both parties and include them in his/her piece.  This is what many journalists try to do.

As a photojournalist, the only real option is to stand on the sidelines and photograph the action, submit it to the editors at the news agencies.  In war photography, it is difficult to “stand on the sidelines” and take images because, the photographer is physically placing him/herself in the territory of either the “enemies” or the “good guys”. 

One must understand, that in most conflicts there are borders where the “good guys” or the “bad guys” (depending on who is writing, what news agency, and/or whose side your on) cross the borders and fight.  For the photographer to cover the story, one must cross the borders.  For example, culture A bombs culture B; the damage takes place in the area of culture B.  Culture A could be the good guys and culture B could be the bad guys.  So if the photographer wants to record the “damage” in the area of culture B, he must cross over and most of his/her images will be from the area of culture B. 

The problem lies in this, let’s say you are covering the damage in culture B, destroyed homes, crying mothers, and broken cars but the agencies most likely to purchase your images are rooting for culture A.  Therefore, if the photographer wants to earn an income and sell his/her images they cannot make culture A look “bad”, they must look like they are doing good in order to justify why they (the supposed good guys) go in and destroy a city. 

In the end, the news in culture A, only gets ½ of the story.  The photographer takes images of solders helping children, rebuilding schools, handing out candy or water.  The photographer takes images of smiles, and joy, in spite of the recent destruction of an entire neighborhood.  These are called propaganda photographs.  Or that is what I call them.  If I wanted to get back the money I spent from going into Iraq as a freelance, I HAD to take propaganda images, it was a must.

One day I would wake up and say to myself, today I am going to run around and “take propaganda” images.  I needed the money.  So, I did just that.  On other days, when my true journalist self came out, I wanted to see what was really going on out there, I would take images of the gas lines, the satellite dishes, the empty movie houses, the priest who’s church was just invaded from the “good guys”, the mothers without husbands, the suicide bombers, talk to the soldiers,  etc…I did not sell any of the images and stories yet, they were part of the story.  It was the other half of the story.

I was once accused as being an activist, not a photojournalist from an editor of a mainstream media source.  At first, I took this rather difficult but within a few days, I looked at is as a compliment.  From his perception, when I submitted images of blocks and rows of apartments with new satellite dishes, brought in from an American company and making a ton of money from the destruction of the media services, I was on the “wrong side”.  I was an activist.  From my journalists’ perspective, I was covering the story, as much as the whole story that I could.  I call it history.  These stories came from the ground, and behind the scenes, the long lines, satellite dishes, lonely soldiers, bombed buildings, and no currency. 

But they did not make the news and they did not make a penny.  Not one.  So where does a photojournalist publish these “untold stories”?   Does he/she leave them in the computer not sharing a part of history with the world?  Or, does he/she publish to those who will take the images and the story, in order to get the other half of the story out there? 

Journalists are responsible to the public, we are responsible to provide objective information to the readers it is our motto, or it is supposed to be.

Thursday, 8 April 2010

Ethics in the Age of Digital Photography/Changes to Photographs

In one of the early Digital Conferences, the Rev. Don Doll, S.J. pointed out that there are degrees of changes that can be done electronically to a photograph. There are technical changes that deal only with the aspects of photography that make the photo more readable, such as a little dodging and burning, global color correction and contrast control. These are all part of the grammar of photography, just as there is a grammar associated with words (sentence structure, capital letters, paragraphs) that make it possible to read a story, so there is a grammar of photography that allows us to read a photograph. These changes (like their darkroom counterparts) are neither ethical nor unethical - they are merely technical.

Changes to content can be Accidental or Essential (this is an old Aristotelian distinction)- Essential changes change the meaning of the photograph and accidental changes change useless details but do not change the real meaning. Some changes are obviously more important than others. Accidental changes are not as important as Essential changes, but both kinds are still changes.

If you had a photograph of a bride and groom and removed the groom, this would constitute an essential change because it would change the meaning of the photograph. (In fact, there are companies that will provide this service if you get a divorce. I guess the wedding book would end up looking like the bride got all dressed up and married herself.)

In the photos of the ladies on the parade float, the first photo has a set of wires running behind the ladies. In the second photo, the lines have been removed.




 


It takes only a few seconds with the cloning tool in PhotoShop to remove these lines. Removing the lines is an Accidental change, a change of meaningless details. If we had changed the flag to a Confederate flag, or removed a couple of the ladies, this would have changed the meaning of the photo and it would have been an essential change. But if we just remove the lines, what is the big deal? Who is harmed? As far as I am concerned, we are all harmed by any lie, big or small.

I do not think the public cares if it is a little lie or a big lie As far as they are concerned, once the shutter has been tripped and the moment has been captured on film, in the context of news, we no longer have the right to change the content of the photo in any way. Any change to a news photo - any violation of that moment - is a lie. Big or small, any lie damages your credibility.

The reason I get so adamant when I discuss this issue is that the documentary photograph is a very powerful thing and its power is based on the fact that it is real. The real photograph gives us a window on history; it allows us to be present at the great events of our times and the past. It gets its power from the fact that it represents exactly what the photographer saw through the medium of photography. The raw reality it depicts, the verisimilitude makes the documentary photo come alive. Look at the photo of Robert Kennedy dying on the floor of the hotel in California; look at the works of David Douglas Duncan or the other great war photographers; look at the photo of Martin Luther King martyred on the balcony of a motel in Memphis. The power of these photographs comes from the fact they are real moments in time captured as they happened, unchanged. To change any detail in any of these photographs diminishes their power and turns them into lies. They would no longer be what the photographer saw but what someone else wanted the scene to be. The integrity of the Moment would be destroyed in favor of the editorial concept being foisted, as is the case in the O. J. Simpson TIME cover.

Friday, 26 February 2010

Ethics in the Age of Digital Photography / Personal Taste

Honest photographs can have an ethical dimension when it concerns the personal ethics of the photographer. Did the photographer violate some ethical standard in the process of making the picture?

Your browser may not support display of this image.For example, take the very famous photo of the young child dying in Sudan while a vulture stands behind her, waiting. It was taken by Kevin Carter who won a Pulitzer Prize for the photo (a photo that raised a lot of money for the relief agencies). He was criticized for not helping the child; he replied there were relief workers there to do that. After receiving his Pulitzer, Kevin Carter returned to Africa and committed suicide. He had a lot of problems in his life but, with the timing of the sequence of events, I cannot help thinking there is a correlation between his photographing the child and his suicide.
This is the kind of choice all journalists will face some time in his or her career; maybe not in the extreme situation that Carter faced, but in some way, we all will be faced with choices of helping or photographing. Some day we will be at a fire or a car accident and we will be called upon to put the camera down and help. It is a good idea to think about these issues in advance because when the hour comes, it will come suddenly and we will be asked to make a choice quickly.
Here is the principle that works for me. It is not a popular one and it is one that many journalists disagree with but it allows me to sleep at night. If you have placed yourself in the position where you can help, you are morally obligated to help. I do not ask you to agree with me. I just want you to think about this and be prepared; at what point do you put the camera down and help? At what point does your humanity become more important than your journalism?

Photojournalism Code of Ethics

Visual journalists operate as trustees of the public. Our primary role is to report visually on the significant events and varied viewpoints in our common world. Our primary goal is the faithful and comprehensive depiction of the subject at hand. As visual journalists, we have the responsibility to document society and to preserve its history through images.

Photographic and video images can reveal great truths, expose wrongdoing and neglect, inspire hope and understanding and connect people around the globe through the language of visual understanding. Photographs can also cause great harm if they are callously intrusive or are manipulated.
This code is intended to promote the highest quality in all forms of visual journalism and to strengthen public confidence in the profession. It is also meant to serve as an educational tool both for those who practice and for those who appreciate photojournalism. To that end, The National Press Photographers Association sets forth the following.
Visual journalists and those who manage visual news productions are accountable for upholding the following standards in their daily work:
   1. Be accurate and comprehensive in the representation of subjects.
   2. Resist being manipulated by staged photo opportunities.
   3. Be complete and provide context when photographing or recording subjects. Avoid stereotyping individuals and groups. Recognize and work to avoid presenting one's own biases in the work.
   4. Treat all subjects with respect and dignity. Give special consideration to vulnerable subjects and compassion to victims of crime or tragedy. Intrude on private moments of grief only when the public has an overriding and justifiable need to see.
   5. While photographing subjects do not intentionally contribute to, alter, or seek to alter or influence events.
   6. Editing should maintain the integrity of the photographic images' content and context. Do not manipulate images or add or alter sound in any way that can mislead viewers or misrepresent subjects.
   7. Do not pay sources or subjects or reward them materially for information or participation.
   8. Do not accept gifts, favors, or compensation from those who might seek to influence coverage.
   9. Do not intentionally sabotage the efforts of other journalists.
Ideally, visual journalists should:
   1. Strive to ensure that the public's business is conducted in public. Defend the rights of access for all journalists.
   2. Think proactively, as a student of psychology, sociology, politics and art to develop a unique vision and presentation. Work with a voracious appetite for current events and contemporary visual media.
   3. Strive for total and unrestricted access to subjects, recommend alternatives to shallow or rushed opportunities, seek a diversity of viewpoints, and work to show unpopular or unnoticed points of view.
   4. Avoid political, civic and business involvements or other employment that compromise or give the appearance of compromising one's own journalistic independence.
   5. Strive to be unobtrusive and humble in dealing with subjects.
   6. Respect the integrity of the photographic moment.
   7. Strive by example and influence to maintain the spirit and high standards expressed in this code. When confronted with situations in which the proper action is not clear, seek the counsel of those who exhibit the highest standards of the profession. Visual journalists should continuously study their craft and the ethics that guide it.

Ethics in the Age of Digital Photography / Visual lies

It is time to get back to the theme of this report - the ethics involved with the use of computers to process images.
I like the Weekly World News. It provides a constant source of photos for these discussions about ethics. One of the more famous front pages shows a space alien shaking hands with President Clinton. It is a wonderful photo, guaranteed to make the career of any photographer who manages to get an exclusive shot of this event.
Your browser may not support display of this image.
We can laugh at this photo and I have no real problem with the Weekly World News running such digitally created photos because of the context of where this photo is running. This is the second of the vocabulary words I want to give you: CONTEXT. Where the photo runs makes all the difference in the world. If this same photo ran on the front page of the New York Times, it would damage the credibility of the Times. In the context of the Weekly World News, it cannot damage their credibility because that newspaper does not have any credibility to begin with (it seems we need to create a new set of terms when we can refer to the weekly World News and the New York Times both as newspapers).
Context becomes a problem when we find digitally altered photos in reputable publications, and there have been many. For example, the cover of TexasMonthly once ran a photo of then Governor Ann Richards astride a Harley-Davidson Motorcycle. It came out that the only part of the photo that was Ann Richards was her head. The body on the motorcycle belonged to a model and the head of the governor was electronically attached to the model.

On the credit page in very small type, the editors claimed they explained what they had done and that this disclosure exonerated them.
They wrote:

    Cover Photograph by Jim Myers
    Styling by Karen Eubank
    Accessories courtesy of Rancho Loco, Dallas;
    boots courtesy of Boot Town, Dallas;
    motorcycle and leather jacket courtesy of Harley-Davidson, Dallas;
    Leather pants by Patricia Wolfe
    Stock photograph (head shot) By Kevin Vandivier / Texastock
In the first place this was buried on the bottom of a page very few people look at, in a type size few over 40 can read and was worded in a way as to be incomprehensible.

Secondly, my feeling is that no amount of captioning can forgive a visual lie. In the context of news, if a photo looks real, it better be real. This photo looked real but it was a fake. We have an obligation to history to leave behind us a collection of real photographs. This photo of Ann Richards entered into the public domain and on the day she lost her reelection bid, AP ran the photo on the wire for its clients. AP had to run a mandatory kill when they were informed it was not a real photo.
Written Lies

Janet Cooke was a reporter at the Washington Post who won a Pulitzer Prize in 1981 for a story she wrote about an eight-year-old heroin addict named Jimmy. The Prize was taken back and she was fired when it was discovered that she made up the story. Can you imagine if the Post put a disclaimer in italics at the end of the story when it first ran, that said something along these lines: "We know this exact kid does not exist but we also know this kind of thing does happen and so we created this one composite kid to personalize the story. Even though Jimmy does not exist you can believe everything else we wrote." The Post would have been the laughing stock of the industry and yet this is what TexasMonthly is doing by captioning away a visual lie. You have to have the same respect for the visual image as you have for the written word. You do not lie with words, nor should you lie with photographs.

Monday, 12 October 2009

Crossing Borders Book

You can order my book now!  Titled "The Crossing Borders Project"  If you order from Amazon, the price will be double than if you order from my website, because they take out a ton of commission to list the book on their site.  On the Amazon link, you can scan the book to get a peek at what is inside.
Sales from the book, help to pay for the project and hopefully, the ability to exhibit in Palestine, Tel Aviv, and Jerusalem, which is what the project is all about...crossing borders.

I know that the project has been finished for a while, but I work hard at trying to keep it alive!  Power to Crossing Borders and providing tools for local citizens be their own voices regarding issues of concern.

Sunday, 7 December 2008

A'mir Refugee Camp, Ramallah


Photograph by Lina with the Tamer Institute in Ramallah. We took a workshop field trip to A'mir Refugee Camp in Ramallah.
Book Links:  Ramallah- "Sharon and My Mother-In-Law: Ramallah Diaries", by Suad Amiry


Palestinian Voice


The Palestinian Voice is finally finding its way out of the isolation in the West Bank of Israel! An Exhibit is in its making, to be shown in Florence and then traveling to other cities in Italy. The project is sponsored by....guess who? Me of course. I have found that no-one wants to be affiliated with funding to projects concerning the West Bank, due to the Hamas situation. Even though, there are starving people everywhere in Gaza, that does not seem to matter.
For me and the project participants, this is good news!
Book links:  "funding" Effective Fundraising for Nonprofits:  Real-World Strategies that work, by Ilona Bray J.D., Nolo Legal Editor
"Palestinian"  Palestinian Walks: Forays into a Vanishing Landscape, by Raja Shehadeh
"Gaza" Drinking the Sea at Gaza:  Days and Nights in a Land Under Siege, by Amira Hass





Saturday, 25 August 2007

Bethlehem Checkpoint My Pics

The service taxi on the way to Bethlehem from Jerusalem, it is separate and smaller than the Israeli buses that take you around the cities. There are Arab drivers with ID's, many times the Israeli soldiers stop the service taxis to check the occupants ID's. Sometimes, they take those off of the service if they do not have the proper ID and arrest them taking them to a jail in an army jeep. Most of the time, the person who was picked up by the soldiers, cannot have legal representation, make phone calls and sometimes is not told why they are taken. The families search for the person, but unless they have connections, they cannot find out where he/she is. Even if they do find out where they are, they are not allowed to visit or talk to the prisoner.
This is a settlement located just outside of the Bethlehem checkpoint called "Gilo" most of the homes are empty. It is located on a hill. I saw an advertisement to buy/rent an apartment from the "luxury tower" it is the tall building located on the left of the settlement. Most settlements are built in circles, on top of hills. It reminds me of the Italian walled in old villages that are speckled throughout Tuscany.
This is the first entry into the checkpoint, and the last photograph that I could take until outside of the checkpoint area. This door is where each person must enter and sometimes, the door on the right is closed, creating smaller space to enter and exit. Both people exit and enter through this door, and there is not any real order as far as lines, and who goes next, when someone gets permission to approach the Israeli soldiers "stall" or to wait. You may hear a slight grunt, from the soldier, when it is your turn. Sometimes, when inside you can hear the soldiers yelling in Hebrew over the loudspeaker. The first time I went through, I heard a Palestinian woman, screaming and crying, inside the building, most likely inside one o the lines of "closets" that are inside of the building. They are small rooms with doors and no windows. I think that they are "holding" rooms for transportation of the person. The person is in there alone.
Here is the waiting line during rush hour to get back into Bethlehem after a day's of work. The people never know when they attempt to exit to go to work in the morning, if they will be denied. I did not take photographs inside of the checkpoint building, because I did not want my camera to be taken away. Once inside, there are bullet proof windowed stalls lined in a row, and not all are in use. For rush hour they may open two. When inside, there is not really a line and people are pushing through to get near the front. Only one person at a time can enter, they must first show their permit pressing it against the window, and then hand through a slot (like at a gas station stall) the ID, the soldier, puts the ID number into a computer and tells the person if they can continue or not. Then, the person must go through a turn style, and place the right palm of his/her hand on a machine that has rubber nails in a row, where you place your fingers in between while pressing the palm of the hand down for hand printing. (This procedure occurs when leaving or coming back) once they take their palm print, they are given permission to continue.
Once you enter into Bethlehem, you walk along the wall (on the right) and a fence on the left.
Once you enter into Bethlehem, you walk along a fence that leads you to another turn style, into a parking lot (where cars do not park, but tourist buses drop the tourist off, and pick them up) and then through another gate past a guard, and then down along the wall and a fence into Bethlehem.
There is a dividing fence once you cross the all to enter into Bethlehem, this man is coming into Bethlehem. It is hard to transport goods inside because you are on foot. To your right is where you need to exit.
Graffiti on the wall near the checkpoint and the taxi area, the square in between the two chairs was a scene of nature and blue sky.
Taxis waiting for customers just inside the checkpoint. Bethlehem's economy is falling into poverty levels. Many people lost their jobs in the surrounding area in Jerusalem (15 minutes away). Many people cannot get their work permits renewed and are denied exiting Bethlehem. The taxi drivers wait outside for an average of 15-20 tourists who walk in each day. They will offer 30 nis (10 dollars) to drive the tourists around to the sites and for them it is a good job to find.
Fenced in Church just inside the checkpoint, next to the wall, (on the right) the church is now closed and a driver is explaining to me what happened when they first built the wall at the Bethlehem checkpoint.


When leaving Bethlehem, you take the same route, however once inside the building, you walk through a series of dividing metal bars to direct your path. There are camera's everywhere. You walk until you see a "green light" over one of the turn stalls (not the half turn stalls, but the tall ones, with roatating bars). When the light is green, you can push on the bar, to turn and enter, when it is red, you must wait. There is only a camera, you cannot see a person. Sometimes they tell you what to do in Hebrew, but because it is over the loudspeaker, the voices become all muffled and you cannot understand what it is that they are saying. So you just wait. I saw a group of tourists wait two hours. You cannot find a person to find out why, or what is going on, you just stand there and wait. When this happened, I went backwards, to ask the soldier, on the other side of the parking lot, who sits inside of a windowed box, why he is letting people in the first gate, if they are closing the second? He told me that it should be open and he would call them. A Palestinian near me said, you can go ask those things, but we cannot. If we do, they will take us to jail, or beat us up because we are not being respectful.

Once through the first turn stall, there is a baggage x-ray machine, the Palestinians (not tourists) must take off their shoes, belts, hats, watches, money, cell phones, and put them in the box, and walk through. There is a soldier, that sits inside of a larger stall, bullet proof, without any way to talk to them, and waves you through or not.

Once finished, you go through another turn stall, when the light is green, and continue to the stalls to show your ID and take your palm prints before leaving.

Aida (Aydah) Camp- My photos

Environmental issues are evident, as to the sign of dying trees. This is the direct result of the water war that exists between Israel and the West Bank. Water is scarce for the Palestinians due to no access to the local wells. The wells have been included into the Israeli side of the wall for Israeli use, excluding the Palestinians. This land above is in Adyah camp, and has about 20 trees. However they are now dying, because they cannot have access to the water that was/is on their land.
This is a home in Idyah camp, the flag is that of someone who was killed by the Israelis.
An olive tree in the cemetery that is located near the wall. There is not any room for growth.
Boys playing in the camp just outside of the community center. The wall is in the background.
Bara'a and Sanaa with their children. They are holding the bags for the photos that I provided.
Bara'a, her mother and Sanna during the meeting.

Monday, 2 July 2007

Susan's Photo Story- Aida Refugee Camp, Bethlehem


This is a UN building inside of Idyah Camp the graffiti says, "UN Bodies and Agencies should enable Palestinian Refugees from exercising their right to return."
A view of the winding wall from the camp, Adyah Camp is on your right, Israel is now, due to the security wall is on your left. Many acres of land was taken while building this wall. It curves to go around olive trees (in this case) or make room for the growth of settlements or to include water wells to be inside of Israel. This wall is inside of the 1967 green line.

On the way to the womens center. The wall is on the right the camp is in front of me and on the left.
Inside of Bethlehem on the road to Adyah Camp.
After the 1 and 1/2 hour trip I stopped for a falafal.
Bethlehem checkpoint wall and isle for coming in or going out
Inside the siervice (a shared type of taxi)

This is a cart in E. Jerusalem taken from the siervice window.