Thursday, September 30, 2010
Tuesday, September 28, 2010
war photographer
This documentary film, about the career of photographer James Nachtwey, was, in a word, intense! Wow. Through the entire film I kept saying to myself, “How does he do this??” The things he has seen are unreal. I can barely look at many of these images on this tiny computer screen—I had to avert my eyes a few times, and cried several times, but he sees them up close and personal, it’s hard for me to imagine that. And he doesn’t seem to use a telephoto lens or anything that lets you keep a safe distance from the action—he gets right up into it. He believes, as many do, that one needs to be close in order to get the good photo. I think he also feels a need to let his subjects know that he realizes that they are people and not just objects to be observed.
At the start of the film when he is in Kosovo photographing the crying woman, I wondered if he didn’t feel invasive being right up literally in her face with his camera. It seemed that he would have to feel impersonal or like an outsider. Did he even ask if he could intrude in these peoples’ lives? I was initially kind of offended and taken aback by his techniques. He was capturing these most painful and personal moments of families or friends—their time of tragedy or hurt or death. How could he do it? Was he that detached from it all? Maybe he was using his camera as a sort of barrier between the reality of the situation and himself. I remember him being at a funeral, not ten feet away from the wailing mourners, and no one seemed to pay him any attention. This also seemed so intrusive to me—to be witness to someone else’s personal moment. But then I thought, maybe they don’t even notice him there; they definitely have other things to distract them in that instant.
Then Jim explained that in war things are different. Normally he wouldn’t just go into someone’s home when they are grieving, it just wouldn’t be right. The people he takes photographs of have accepted and welcomed him into their lives and trust him. His acceptance is necessary otherwise it would be impossible to show what he does. They tend to realize that they are victims and that their stories need to be told, and by letting their photos be taken they are getting a voice. Listening to him talk about the respect he has for his subjects made me feel much better and accepting of him and the work that he does. He is not an exploiter and realizes that if his personal ambition ever takes over his compassion, he has failed.
Throughout the film I kept thinking—how does what he’s doing help? What is the need for these images to be captured and shown to the rest of the world? Jim answered that photography evokes a sense of humanity, and that humanity is kind of the opposite of war. If everyone could be in these settings, just once, to experience the heart of war, then they would understand that it needs to stop—there is nothing in this world that is worth this. But everyone can’t, that is why photographers have to go and do it for them—to show them, to help them feel what war and famine and poverty are like. Jim does this with his photographs. They are detailed, eye-opening, personal, and evoke an emotional response, and although mostly dealing with disturbing or depressing content, also quite beautiful.
All the images were powerful and almost severe. The images of the famine victims in Africa were heartbreakingly hard to look at. How could they even be alive? At least he explained that they were in a camp and were being helped…And the family in Jakarta that lived between the railroad tracks—it was scary just seeing the video footage. They sleep, eat and live inches away from maiming or death (as was found out by the father), it’s crazy! The photos that have stuck with me are where the man was being chased and ultimately beaten to death by a mob. These aren’t photos of aftermath, but something horrifying that was happening at the moment—a man was being killed. Those were hard to look at and take in as real. And the fact that Jim had pled with the men to not kill him and stayed right in the center of the action is amazing/crazy/heroic/dangerous. As other photographers kept their distance and documented, Jim was trying to help. Makes me wonder how many documentary photographers actually do this, or do the majority see themselves as only that—documentary photographers.
Nachtwey is almost Pollyanna-like in his optimism—that what he is doing can make a difference. Maybe he can’t stop war—a continuing theme through all of human existence, but maybe he can make the masses more aware, and in this way, bring some kind of gradual change or hope for those that suffer needlessly.
At the start of the film when he is in Kosovo photographing the crying woman, I wondered if he didn’t feel invasive being right up literally in her face with his camera. It seemed that he would have to feel impersonal or like an outsider. Did he even ask if he could intrude in these peoples’ lives? I was initially kind of offended and taken aback by his techniques. He was capturing these most painful and personal moments of families or friends—their time of tragedy or hurt or death. How could he do it? Was he that detached from it all? Maybe he was using his camera as a sort of barrier between the reality of the situation and himself. I remember him being at a funeral, not ten feet away from the wailing mourners, and no one seemed to pay him any attention. This also seemed so intrusive to me—to be witness to someone else’s personal moment. But then I thought, maybe they don’t even notice him there; they definitely have other things to distract them in that instant.
Then Jim explained that in war things are different. Normally he wouldn’t just go into someone’s home when they are grieving, it just wouldn’t be right. The people he takes photographs of have accepted and welcomed him into their lives and trust him. His acceptance is necessary otherwise it would be impossible to show what he does. They tend to realize that they are victims and that their stories need to be told, and by letting their photos be taken they are getting a voice. Listening to him talk about the respect he has for his subjects made me feel much better and accepting of him and the work that he does. He is not an exploiter and realizes that if his personal ambition ever takes over his compassion, he has failed.
Throughout the film I kept thinking—how does what he’s doing help? What is the need for these images to be captured and shown to the rest of the world? Jim answered that photography evokes a sense of humanity, and that humanity is kind of the opposite of war. If everyone could be in these settings, just once, to experience the heart of war, then they would understand that it needs to stop—there is nothing in this world that is worth this. But everyone can’t, that is why photographers have to go and do it for them—to show them, to help them feel what war and famine and poverty are like. Jim does this with his photographs. They are detailed, eye-opening, personal, and evoke an emotional response, and although mostly dealing with disturbing or depressing content, also quite beautiful.
All the images were powerful and almost severe. The images of the famine victims in Africa were heartbreakingly hard to look at. How could they even be alive? At least he explained that they were in a camp and were being helped…And the family in Jakarta that lived between the railroad tracks—it was scary just seeing the video footage. They sleep, eat and live inches away from maiming or death (as was found out by the father), it’s crazy! The photos that have stuck with me are where the man was being chased and ultimately beaten to death by a mob. These aren’t photos of aftermath, but something horrifying that was happening at the moment—a man was being killed. Those were hard to look at and take in as real. And the fact that Jim had pled with the men to not kill him and stayed right in the center of the action is amazing/crazy/heroic/dangerous. As other photographers kept their distance and documented, Jim was trying to help. Makes me wonder how many documentary photographers actually do this, or do the majority see themselves as only that—documentary photographers.
Nachtwey is almost Pollyanna-like in his optimism—that what he is doing can make a difference. Maybe he can’t stop war—a continuing theme through all of human existence, but maybe he can make the masses more aware, and in this way, bring some kind of gradual change or hope for those that suffer needlessly.
Tuesday, September 21, 2010
Wednesday, September 15, 2010
Final Project Proposal
The plan for my project is to follow my friend Michelle, a teacher at Sunnyside High School, for many days. I want to capture her life mostly at work, as well as the job itself and its surroundings. Kind of a human interest story or “day in the life.” I want to take both candid and possibly posed shots; shots of teaching in action, the school grounds, the students, etc. I also envision it to be black and white, but I will also try color. I will take both digital and film photos and possibly display a mix of the two.
Although Michelle has given me her schedule and an open invitation to visit any time, I won’t have unlimited access—my schedule only permits me to visit her during the week on Fridays any time, or early mornings on Tuesday and Thursday—I will definitely take advantage of any time I can. She has told the principal that I am there to observe and photograph her, so I have been cleared for that, and the students know I’m coming, but I’m not sure what kind of legalities I will have to deal with just yet…
I think this project is significant in that teachers are extremely important and yet they are undervalued and disrespected. The school system is deeply flawed, Sunnyside in particular is in a “less desirable” neighborhood, it is underfunded, and I know Michelle is sometimes extremely frustrated by her job and the students there. I won’t really know exactly what I will get from this until I go there—I have never even seen the school. Maybe I will see a happy environment with kids willing and eager to learn, or not.
I expect to go there at least once a week for the duration of the project. I hope to make twenty great images encompassing Michelle’s daily life as a high school teacher (a biography)—her serious moments working, quiet times, lunch, extracurricular activities, and her students to some extent (if allowed). I am concerned that I will be distracting to the students and interrupt the learning process, no matter how inconspicuous I try to be, and I am also concerned with issues of needing permission to photograph in the school (although Michelle has said that they don’t really seem to care about who comes and goes or their reasons for it) and of minors. I have printed out some model release/minor release forms, but am not sure if these are needed, or if so, if they are good enough.
As far as costs go— I think that will be mainly in printing the digital photos and for B&W paper if I decide to print some myself. I have plenty of film, so that’s not an issue. To exhibit them, I will probably mount them on mat board, I don’t think I can afford to frame 20 11x14 (or larger) prints, but we’ll see. I’m finding that, depending on ply, 16x20 mat boards are around $2-4 each, so the project will start at at least $70 for that, then the cost for the digital prints (at least $70), so I can probably guarantee spending at least $150.
Another idea I have is taking photos at gun shows. I know there are several happening during this time period. It would be interesting to capture the people who really have a passion for guns and their excitement about them (something that is hard for me to understand because I have a deep dislike for guns and think they should be outlawed). These could also be both candid and posed—I see a lot of posed ones. I feel this project would be hard in that I find it difficult taking photos of people I don’t know at all. It’s hard for me to ask permission, I get all anxious just thinking about it, and I don’t want to take photos of people without asking them for fear of making anyone angry. It might also be something that would have legal issues—taking photos inside the shows may be not allowed. This could be more of a social assignment, a look at this particular “scene.” It is also political in that it is a controversial issue, and it’s personal for me. The cost breakdown would be the same, but also include admission fees to these events.
These are two project idea proposals. I am feeling very strong about the first one. I will be taking my first photos on Friday (9/17) so I will be able to tell how the plan is going to go after that.
Although Michelle has given me her schedule and an open invitation to visit any time, I won’t have unlimited access—my schedule only permits me to visit her during the week on Fridays any time, or early mornings on Tuesday and Thursday—I will definitely take advantage of any time I can. She has told the principal that I am there to observe and photograph her, so I have been cleared for that, and the students know I’m coming, but I’m not sure what kind of legalities I will have to deal with just yet…
I think this project is significant in that teachers are extremely important and yet they are undervalued and disrespected. The school system is deeply flawed, Sunnyside in particular is in a “less desirable” neighborhood, it is underfunded, and I know Michelle is sometimes extremely frustrated by her job and the students there. I won’t really know exactly what I will get from this until I go there—I have never even seen the school. Maybe I will see a happy environment with kids willing and eager to learn, or not.
I expect to go there at least once a week for the duration of the project. I hope to make twenty great images encompassing Michelle’s daily life as a high school teacher (a biography)—her serious moments working, quiet times, lunch, extracurricular activities, and her students to some extent (if allowed). I am concerned that I will be distracting to the students and interrupt the learning process, no matter how inconspicuous I try to be, and I am also concerned with issues of needing permission to photograph in the school (although Michelle has said that they don’t really seem to care about who comes and goes or their reasons for it) and of minors. I have printed out some model release/minor release forms, but am not sure if these are needed, or if so, if they are good enough.
As far as costs go— I think that will be mainly in printing the digital photos and for B&W paper if I decide to print some myself. I have plenty of film, so that’s not an issue. To exhibit them, I will probably mount them on mat board, I don’t think I can afford to frame 20 11x14 (or larger) prints, but we’ll see. I’m finding that, depending on ply, 16x20 mat boards are around $2-4 each, so the project will start at at least $70 for that, then the cost for the digital prints (at least $70), so I can probably guarantee spending at least $150.
Another idea I have is taking photos at gun shows. I know there are several happening during this time period. It would be interesting to capture the people who really have a passion for guns and their excitement about them (something that is hard for me to understand because I have a deep dislike for guns and think they should be outlawed). These could also be both candid and posed—I see a lot of posed ones. I feel this project would be hard in that I find it difficult taking photos of people I don’t know at all. It’s hard for me to ask permission, I get all anxious just thinking about it, and I don’t want to take photos of people without asking them for fear of making anyone angry. It might also be something that would have legal issues—taking photos inside the shows may be not allowed. This could be more of a social assignment, a look at this particular “scene.” It is also political in that it is a controversial issue, and it’s personal for me. The cost breakdown would be the same, but also include admission fees to these events.
These are two project idea proposals. I am feeling very strong about the first one. I will be taking my first photos on Friday (9/17) so I will be able to tell how the plan is going to go after that.
Monday, September 13, 2010
Assignment 1: Spaceship
I chose to take photos of objects/people that I would want to see (or do currently see) everyday. I see the photo of my parents on my dresser every morning, I see the pics of my boyfriend on our fridge every day. These are things that me happy. I took 3 photos of my son making funny faces- I know I could look at these any time and they would make me laugh. I took a photo of my boyfriend/baby daddy's eyes, I love looking into them and seeing their ever-changing blue hues. There is a photo of my garden- it's a place I like to visit in the morning with a cup of coffee, an oasis, representing serenity. There is a photo of my back- every once in a while I like to take a look in the mirror and check out my tattoos, I don't get to see them often. Lastly, there are 2 photos of where I am from- Provincetown, MA. One is the beatiful ocean view there as seen from the beach at low tide, and the other is of my and my son's feet, enjoying an intimate moment with him and the lovely cool feel of the water. 
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