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Photojournalism: The Falling Soldier

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Photojournalism is the visual means of telling a story, through one or a series of shots. Mainly reporting on the events of war and conflict, this form of communication documents news affairs to be published in magazines or the media. The concept of modern photojournalism was recognised as a form of photography in the late 1920s and early 1930s, following the invention of hand-held cameras, such as the ‘Ermanox’ and the ‘Leica’. This enabled photographs to be taken with professional quality, using adequate equipment to record ‘fast-moving events’. Meanwhile, political upheaval and ‘the rise of mass circulation news’ brought about high demands for illustrated magazines. During this period, new jobs were introduced and the practice of photojournalism …show more content…

Thus, the photographers would have an impact on one’s standpoint, this being reflected on by the adverse reactions of the public. Capa’s iconic photograph of what is known as “The Falling Soldier”, has sparked controversy across the world, questioning its authenticity. Nevertheless, this photograph from the Spanish Civil War is moving with emotions and comprises powerful compositional elements, in which the viewers can focus more on its meaning and consider the sensitivity of the ‘little’ aspects that in the end, characterise the image as a whole. This shot was taken the instant after the soldier is hit by a bullet. Therefore, a split-second would have made all the difference, and for this ‘lucky’ shot to have been captured, it has exposed the tragedies and injustices of war. With McCullin, his photographs “galvanised a huge response amongst people who wanted to do something to help”, so he made use of this reputation to support a number of charities and campaigning groups to improve the lives of others. McCullin states that he was constantly accused of taking ‘horrible’ pictures, and being questioned, “did you ever help anyone?” Expect, taking these risks were worthwhile because he had come into close contact with the real victims, and were able to develop what McCullin described as a “close affinity” with the poorest people and coming to understand “what their lot

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