Endre Friedmann: War Photographer

Alex Kotlowitz met Lafeyette and Pharoah Rivers in 1985 while working as a journalist. He was interviewing them for a photo essay in Chicago magazine on children living in poverty. The violence that occurred every day where the brothers lived in Governor Henry Horner Homes, or Horner, disturbed Kotlowitz. Lafeyette and Pharoah are 12 and 9 years old at the start of the book but have experienced more than many kids their age. The boys did not seem sure of what life held for them. Lafeyette told Kotlowitz, “If I grow up, I’d like to be a bus driver,” Lafeyette was not sure that he would grow up at just 10 years old (x). Kotlowitz wanted to show what it is like for children growing up in urban poverty after seeing the brothers’

Undergoing one of the greatest economical transitions in United States history, the Gilded Age is a period heralded with rapid industry, innovation, and transformation that ushered the modernization of a rapidly growing nation. Reveling in unprecedented financial growth, unfortunately also gave way to many errors that scar the social ethos. With the dominion of capitalism and corporations over the common man, monopolization, corruption, and conspicuous consumption led to divisions in class, race, and labor among 19th century Americans— as such, the prevailing issues of the Gilded Age ultimately sparked a desire for social reform (Roark 530). At the forefront of exposing prevalent issues like poverty and child labor, social reformers utilized

The paper will explore Abelardo Morell’s life, photographic career, and discusses how the Camera falls into his career. Also, this paper will include an art critic review of his artworks. Abelardo Morell is a renowned Cuban-born photographer in the field of Contemporary photography, known for his invention working methods, including the use of a Camera Obscura that represented by Edwynn Houk Gallery in New York City. He took the Camera Obscura out of the past and bring it toward the future. This paper hopes to give a reader an understanding of Abelardo Morell and Camera Obscura.

Born of Irish immigrants in 1823 in a little place called Warren County, New York; Mathew Brady is known as “The Father of Photojournalism.” While a student of Samuel Morse and a friend of Louis Daguerre (inventor of the “Daguerreotype,” a method of photography that the image is developed straight onto a metal coated surface), in which he had met while under the study of Morse, Brady took up his interest in photography in the year of 1839, while only seventeen years of age. Brady took what he had learned from these two talented and intellectual men to America where he furthered his interest in the then-growing art of photography.

Exercise is not something that I do often, I think about it but don’t actually do it. I work out in my room or the gym about four times a month, meaning I only exercise 12 weeks out of the 52 week year. The lack of exercise is a key factor in the approach taken in the paper. After taking this class it has been reiterated how important exercise is in a healthy lifestyle. In high school I was very active but when I got to college my motivation slowed down tremendously. My sophomore year of college was the best year in terms of exercise, I had a steady gym schedule and I ate fairly well for a college student on a meal plan. Exercise is said to bring positive feelings of well-being and lowers anxiety and depression. I tend to handle stress

In PHOT 501, I learned about the beginning of war photography and about famous war photographers, among all war photographers, there are Mathew Brady and Alexander Gardener. Two days after the war had started, Alexander Gardener who used to be working for Mathew Brady at the time,

Winogrand took photos of everything he saw; he always carried a camera or two, loaded and prepared to go. He sought after to make his photographs more interesting than no matter what he photographed. Contrasting many well-known photographers, he never knew what his photographs would be like he photographed in order to see what the things that interested him looked like as photographs. His photographs resemble snapshots; street scenes, parties, the zoo. A critical artistic difference between Winogrand's work and snapshots has been described this way, the snapshooter thought he knew what the subject was in advance, and for Winogrand, photography was the process of discovering it. If we recall tourist photographic practice, the difference becomes clear: tourists know in advance what photographs of the Kodak Hula Show will look like. In comparison, Winogrand fashioned photographs of subjects that no one had thought of photographing. Again and again his subjects were unconscious of his camera or indifferent to it. Winogrand was a foremost figure in post-war photography, yet his pictures often appear as if they are captured by chance. To him and other photographers in the 1950s, the previous pictures seemed planned, designed, visualized, understood in advance; they were little more than pictures, in actual fact less, because they claimed to be somewhat else the examination of real life. In this sense, the work of Garry Winogrand makes a motivating comparison to Ziller's

Henry Peach Robinson, born on July 9th, 1830, was a British photographer and prominent author on photography. Known as “the King of Photographic Picture Making,” he began his life’s work as a painter but would become one of the most influential photographers of the late 19th century. He was a prolific advocate for photography as an art form and is well known for his role in “pictorialism,” which, according to Encyclopedia Britannica, is “an approach to photography that emphasizes beauty of subject matter, tonality, and composition rather than the documentation of reality.”

Photographs are re-collections of the past. This essay is about photography, memory, and history and addresses the relationship between photographic images and the need to remember; it is based on the notion that seeing is a prelude to historical knowledge and that understanding the past relies on the ability to imagine. At the same time, the role of thought and imagination in the production of society--as reflected in the earlier work of Louis Althusser (1970), Maurice Godelier (1984) and perhaps more significantly, Cornelis Castoriadis (1975), suggests yet another role for photography in the construction of a social and cultural reality. Photographs in capitalist societies contribute to the production of information and participate in the surveillance of the environment where their subjective and objective qualities are applied to the private uses of photographic images in the perpetuation of memory.

American Advertising 1960s Advertising is changing all the time around the world with the introduction of new technology and a shift in societal ways. It goes with out saying that advertising is a huge industry through out the world but particularly in America. In our modern day world technology has opened up an array of opportunities for the advertising industry and as technology develops the advertising industry will follow in its foot steps. The 1960s was an influential era for the advertising industry we know today.

Set against the backdrop of World War II and its aftermath, the episode examines how photographers dealt with dramatic and tragic events like D-Day, the Holocaust and Hiroshima, and the questions their often extraordinary pictures raise about history as seen

In the presented essay I will compare the style of work of selected artists in the montage of the film. I will try to point out some general regularities and features of Soviet cinema. At the same time I will try to capture especially what is common in their systems and similar or conversely what differ. For my analysis, I will draw on the feature films of the Soviet avantgarde, namely these are the movies - The Battleship Potemkin (S. Eisenstein, 1925), Mother (V. Pudovkin, 1926) and The Man with a movie camera (D. Vertov, 1929).

National Geographic (before the world wide web) brought the world to its readers. The photographers are able to capture the world in a photo giving the reader greater understanding to the article itself. The job of National Geographic photographer is revered as the “dream job” but the reality is that it’s a grueling task to get that perfect photo. Extreme weather, harsh environments and dangers. Photographers have been injured and even killed just to get that image, that image that than can be iconic in history. The assignments take them all over the world, during times of war, places remote and dangerous. The photographers have to work for the shot, scaling trees, being in the mist of wild and unpredictable animals, hostile people with weapons. One of the photographers took a picture of an elephant charging towards him, most would run but he didn’t and the picture is epically amazing. He could have been killed getting this shot. One of the

What are the ramifications if one or more of your projections or forecasts do not hold true? What will you do if, during implementation, you find that you overstated your projections? How does sensitivity analysis relate to contingency planning? What are several risk mitigation strategies that you could implement to desensitize these variables?

Photographs, drawings, cartoons and videos cover significant political matters. Photojournalists such as Lynsey Addario present critical political issues that affect the world today. In her book, It’s What I Do, she presents scenes surrounding the fall of prominent political leaders such as Muammar el-Qaddafi. The pictures on pages 4 and 5 of her book, for instance, show the struggles that the rebels went through in their quest to dethrone Qaddafi. She quotes Robert Capa, who once said, “ ‘ If your pictures aren’t good enough, you’re not close enough’ ” (Lynsey 7) which shows that photographs are significant in the world of journalism. A video such as “Shouting In The Dark” reveals the heinous acts done by the government of Bahrain towards its own citizens. In the video, we see the brutal force used by the government to silence the peaceful protesters. People were beaten, shot, imprisoned, and killed.