OCA Photography Two: Documentary barry511915. Assi four Exercise Three.

Famine, Ethics, or Aesthetics 

When viewing images of starving children, I am reminded of the Image of the starving Biafran albino boy that was used at the time to try and generate some response from the west. (Don Mccullin 1969) At the time the Biafra crises were going on I was only very young, but I do remember the Images being shown the news. At the time and until recently I thought it was probably the fault of the governments and tribes in what is now Nigeria. I have since learned that the UK government was part of the problem by providing Arms to the faction that they thought would protect there Oil interest in the country, and probably promoted the fighting as early as 1967 causing the deaths of millions of children. All the government documents failed to mention the plight of the starving civilians until Don McCullin and others went and documented there plight. Whether you feel that the shock tactic in showing these Images was justified or not? The fact of the matter is that without that shock more children would have starved to death, while the UK government sent Arms to try to protect their OIL interest in the Country. In these circumstances, I think it is justified to put ethics to one side in the interest of saving children’s lives. It is a shame that the UK government didn’t show some ethics at the time.

Image result for Don McCullin Starving biafran

Above (Don McCullin, Albino Boy Biafra1969)

Medecins Sans Frontieres

The Charity invites you to donate on a monthly basis and send you updates in the form of pamphlets to let you know how your money is being spent. In the brochures are Image and storeys of some of the people that are being or have been helped. The images I have seen in the pamphlets are of the people that are being supported at the time and pictures of people in recovery from the bombings In the Syrian war. This is, of course, to show you that your money does and is helping, and along with the Image there is the story that is about the people in it. This is an excellent tactic and allows the viewer to engage with the story and feel involved in the process of helping. Most of the Images show Men Women and Children receiving medical treatment from the Medical volunteer staff.  The children are not seen as starving but just in need of help in some way.

Below((https://www.google.co.uk/search?q=MSF+Charity+Images (Acssed 23/08/18))


Charity leaders concluded that the portray of starving children has numbed the visual senses and made people think that the whole of Africa is, in general, a hopeless place full of impoverished people, The leaders of some of the African country’s have shown themselves to be corrupt.  creating that hopeless impression of Africa as a whole without really thinking that Africa is a vast continent of 57 Country and over 900 Million people.

((www.google.co.uk/search?q=images 9(Accessed 23/08/18))

Image result for ethiopian starving children images free

Oxfam no longer uses images of starving children, stopping the practice in the1980’s.

(www.google.co.uk/search?q=oxfam( accessed 23/08/18))

Related image

As for ethics, I think it is a case of needs must. If the Images is needed for a good and just reason uses the Images. Then the question is asked could the message have been sent another way? These questions will and should always be asked. The debate will continue. During 1985  Live aid Charity images provoked a wave of goodwill, and millions of pounds were raised to help the people of Ethiopia. There have been some disputed reports that some of the money was misused to supply arms for rebel fighters, most of the money if not all went to the people that needed it. Without the Images of the starving children, the response from ordinary people would have been reduced, So if the argument is we are desensitising the public with the images of starving children why did live aid raise so much money? Was it just because it involved famous pop singers.


OCA Photography Two: Documentary barry511915. Assi four Exercise two. The Gaze.

The Gaze

The gaze is a term that describes looking at something i.e. Person, object, or animal. there are different ways of looking that come under the heading of the gaze that make the term confusing. The camera removes some responsibility from the photographer, a bit like viewing a tiger through the glass, you feel a bit safer. The gaze, a word to describe how we are looking i.e. looking at a person in distress in an Image. We are gazing on their distress they can’t give a look of disapproval to prick your conscience, this is where the term ethics would come into the conversion, depending on how the Images was to be used. Taking an Images of a powerful animal from a hide, first, we are gazing at the animal and the nature of the subject is that it must be done without its knowledge, then we gaze on the finished Image gazing with wonder at its magnificence. The two examples above only scratch the service the term gaze is used for. The term gaze can be used to describe a number of ways of looking when taking Images. The Psychology of the gaze is to complex for me to go into but looking up to try to make the object/person more powerful in the image or taking the Image looking down to make the object/person less significant are just two. The decision of the gaze is made consciously when the Image is being taken. But what message the finished Image will say and how it says it will depend on the gaze of the viewer.

OCA Photography Two: Documentary barry511915 : Assignment 4 a Critical review.




Was it ethical? 


This critical review, and asking the question of what is ethical? Discuss the ethics of photographers. While taking pictures, the question sometimes occurs to you should I be taking this picture? Is it the correct thing to do? It is this sort of question I will be asking and trying to answer while writing this review I can only put mt own personal spin. on the subject but I will try.

Photographers, old and new.


Kertesz was, in my opinion, a real artist. When viewing his work, it all seems on a higher level than some of the photographers of today. He conducted his life as a professional photographer, as a true gentleman and would not have intentionally put his subjects in a position of ridicule with the use of his images.

Andre Kertesz BBC Master of Photographers

Looking at the image below, the woman looks like a dancer who is doing some reading backstage. Kertesz has noticed this woman and the comical way she is dressed. He has thought about the framing of the picture. Taken the shot while including some of the detail around the woman, completing the story of the image. She now sits in context with her surroundings. The photos show a delightful young woman backstage. If asked if she was offended in any way, I am sure her answer would have been no. I would imagine that Kertesz was given permission to take the picture, having been allowed to go backstage.

This brings me to my point about Kertesz being at a higher level. In using the camera in a more ethical way than some of today’s photographers. Kertesz exhibited his photographs almost every year from 1927 until 2012 and some years, two or three times all over the world. Not one of his images were judged as unethical. This, of course, could be put down to the style he used in his photography.

(http://www.atgetphotography.com/The-Photographers/Andre-Kertesz.html(accessed 10/09/18))

There was some criticism towards the image below as Kertesz was known for his street photography and many people said the picture was staged and not an accurate representation of an everyday street scenario. Even if it was a composed image, I don’t think he ever said it wasn’t. Kertesz took several pictures at the same place over a long period of time.


(https://www.neomodern.com/blog/2017/10/18/meudon-1928-by-andre-kertesz(accessed 08/09/18))


Jacques Henri Lartigue

Lartigue was of a similar age to Kertesz, and practised photography, around the same time, for this reason, I am going to compear the two. Would Kertesz have taken this shot below if he was in the same situation? In a way, it is very similar to Kertesz’ shot, above of the woman backstage. It is similar because it was taken without their knowledge, discretely, and the focus of the image is fully occupied and framed by their surroundings. They are not removed from that what Kertesz called the” Human Thing.” (Andre Kertesz BBC Master of Photographers)

So, would Kertesz have taken this picture? Probably not. The images that he has made of nudes are far superior to this, all in collaboration with the models.

Has Lartigue stepped over a boundary in taking the images below? Possibly because he has invaded their private space. On the other hand, their faces are not shown, so they are anonymous, but does this make it ok?

A bord du Dahu II, Royan, Juillet, 1926 Silver gelatin print 30 x 40 cm Edition of 20 (accsessed07/07/2018)

I can only imagine that at the time this shot was taken, it would have been regarded as rude. Was it disrespectful for Lartigue to have made the image in the first place?

In my opinion, the image is reduced. The composition is in question, and the picture looks like it was made in a hurry. This leads me to think it was taken without the knowledge of the subjects; therefore, that puts the photograph down the scale as far as ethics are concerned. I would call these bad manners. Even though the age of Lartigue was similar to Kertesz, he seems to be a little lower down the scale as far as manners are concerned. Of course, this is conjecture on my part as I don’t know all the details, but for the purpose of this assignment, I am hoping you will go along with it.

Looking back at how Lartigue images are similar to that of Kertesz, it can be said that they are very humanistic and usually include a woman somewhere in the picture. Lartigue’s style is what I would call freestyle or carefree and somehow less refined than Kertesz. They are more in the form of a snapshot than a considered image, and a lot of his pictures seem to be taken in the company of friends and in places where people are enjoying life (see below). I know Lartigue was a wealthy man and unlike Kertesz, had the time to be freestyle in his photography less cautious with his Imagery. Because of this freedom, he has made some wonderful documentary-style images famous the world over.

Image result for jacques henri lartigue images

Changing times, add a few years and ethics and opinions change.

Is the image below better or worse as far as ethics go?

Now we are a technological age where the youth have been brought up with computers and a mobile phone which is capable of taking any picture they choose and sending it to their friends in seconds. I think, in this situation, it changes things from the time of Kertesz.

I don’t think it was unethical to take these images, but I do think it was bad manners. In Dench’s case, I am sure that she wouldn’t have wanted the picture published in the way it has been. That would be of course if she was an unknowing party.  If we ask the question that because she is doing something in a public place, do we have every right to capture it? And if yes, should we take the image?

As I am writing this, I am having thoughts of right and wrong and asking myself what Dench has actually done wrong? The only answer I can come up with is nothing really. He has just taken an image of something that is happening in a public place. Recording what life is like for the youth when on holiday. These thoughts are a contradiction of what I was saying earlier about bad manners.

To conclude this first part, I will say that having “bad manners” as a photographer is okay because we wouldn’t take anything risky if we bring manners into it and couldn’t show true-life situations if every time we stopped and didn’t capture the image. Taking this point of view, you could say that Jacques Henri Lartigue was ahead of his time.

http://www.peterdench.com/the-british-abroad/DENCH_British_Abroad_Book_FINAL019/(accessed 29/06/18)

Digging a Little Deeper into the Ethics of Photography

So far, I have only scratched the surface as ethics go, and I must admit it is not something that I have put much thought into. On assignment two, my original idea was to show the homeless that live in and around Manchester. I caught the train to Manchester, arriving at Piccadilly train station which is just a short walk to Piccadilly Gardens. I began taking pictures of some of the street people and as soon as I started, I had a bad feeling, but I continued anyway. I did ask some for permission and gave them a pound if they were begging. I got a robust set of pictures, but I still had that feeling as if I was doing something wrong. I am sure if I were a reporter that was being paid for the images, the compensation would have overcome my lousy feeling, mainly if the pictures were used for the good of the street people.

This brings me to the question “When is it ok to take pictures, even if legal?” I have put my previous feelings to one side for this assignment to try to explain and ask the question.

Was I wrong to not use my original images for Assignment Two because of bad feelings or guilt?
Was I using the homeless in some way?
Would I have been exploiting them?
Is it ok because I am not making any money out of the images?
Is that acceptable, or is it still exploitation?

These are the big questions. Not only does it concern me as an individual, but there is a lot of criticism aimed at the large humanitarian charities for using the extreme images which only show distress and suffering. Used as leverage to pull on the human heartstrings into giving money to the charity.

The image below was taken with full consent. I give the woman a couple of pounds, but it still didn’t feel right. I didn’t get any names while taking any of the pictures.

The image below is a homeless man having his hair cut by a barber who was doing it for free on the street. This image was taken without consent, and no money was given. There was what looked like television cameramen there, interviewing the homeless. I didn’t feel as bad because they were doing more or less the same as me, but it still didn’t feel right.

The image below was to show the contrast in the haves and the have-nots. I did tell them that I was going to take the picture, but I didn’t offer them any money. I waited until they had relaxed before taking the image, and I didn’t feel bad at all, making this image. I think the woman felt worse than me looking at her facial expression. I didn’t feel bad because they weren’t homeless so I didn’t feel as if I was exploiting them in any way.

In conclusion, it is up to the individual taking the images if they think it is right or wrong as long it is legal. What the photos are used for is a significant consideration.  

In my research, I came across Anastasia Taylor-Lind

“It impossible to get to where the crimes are being committed, other than on highly staged and controlled state tours.” (British Journal of photography issue 7867 2018)

Lind decided to approach the subject from a different angle. Finding and taking the pictures of people that had come through the torment of war. Forced expulsion from their home. Showing the healthy, dignified people that they are, not showing them at their lowest ebb of despair, with sorrow but also with strength, dignity and with full consent.

I can’t see how using photography in this way could be seen as exploitation. It seems to be a new approach as far as documenting where war and forced expulsion are concerned. Removing them from their distress and showing them as human beings is a refreshing way to show the people and then add their stories, showing them as survivors.

(British Journal of photography issue 7867 2018)


Omayra Sánchez Garzón, Below

When I came across this image while researching various photographers, I was distraught to find out that the girl in the picture died shortly after it was captured. She had been trapped there for three days before she passed. Obviously, I wasn’t there, but as I have been discussing ethics in this review I couldn’t pass this one by and wanted to ask, once again, was it ethical to take this picture?

The photographer was awarded the World Press Photo of the Year for 1986. It is easy for me to think I wouldn’t or couldn’t take this picture as I am sat here because I don’t know the whole circumstances. I would like to think that I would be too busy trying to get her free than having the time to take photographs. That is easy to say, and when I think about it, I don’t know if I would be a help or a hindrance. I ask myself, has it helped anyone or helped in preventing this from happening again?
By showing the image, who have benefited from its publication? Did it generate and motivate people and charities to help in the aftermath of the volcano?

When I viewed the image below, I felt every emotion and especially when I read she was there for three days before she passed away.

Below quotes by Don McCullin

Don McCullin – “You need to get over the moral aspect of photography. If you can’t, don’t be there. The most important thing is to get great images that influence change” (bbc Hard talk 8/10/2015 accessed 11/08/2018)

((By Source, Fair use, https://en.wikipedia.org/w/index.php?curid=366Frank Fournier2559)(accessed 30/8/18)

“Photography for me is not looking, it’s feeling. If you can’t feel what you’re looking at, then you’re never going to get others to feel anything when they look at your pictures. “- Don McCullin, Sleeping With Ghosts: A Life’s Work in Photography by Don McCullin (Photographer), Mark Haworth-Booth (Introduction), Donald McCullin, ISBN: 0893816590 , Page: 96(accessed 03/08/18)

I have found the image above one of the most moving photos I have ever seen. Don McCullin didn’t take this picture, but I thought his quote was fitting.

In conclusion to the above. When deciding if you should be capturing an image, I have come up with the following. What is the reason am I taking the picture? Can I rationalise it as being a good reason? Is the subject of the image going to be, or possibly be, affected in a good or bad way or neither? What is the image going to be used for? Is the subject so bad that I will regret taking the picture in the future?

In the end, the stories need to be told, and the images need to be taken therefore someone has to do it and as long as you do it with good intentions, even if you need to make money with the images, then I think our conscience is clear. Was I wrong not using my original photos for assignment two? After applying what I have learned while completing this assignment, I can say yes, I was wrong. The assignment has put things into perspective, making me challenge my weak approach to some of the ethical issues in photography.

Brian Walski

Still on the subject of ethics. Below is an image that was manipulated by the photographer Brian Walski. He was a former staff photographer for the Los Angeles Times, and the picture was sent to the newspaper and was consequently run and used by three newspapers until the image was found to be a composite of two images. Consequently, the photographer was fired by the paper and lost his credentials to work for a publication again. The director of photography for the Los Angeles Times, Colin Crawford, was horrified by the image manipulation done by Walski, apparently.

Image result for Brian Walski photography soldier image

Image result for Brian Walski photography soldier image

(https://www.google.co.uk/search?q=Brian+Walski+photography+soldier+image(accessed 08/09/18))

There have been a lot of images that are changed in photoshop, and some very minor changes have had severe consequences for the photographer. Just changing the tone of an image and improving the detail with dodge and burn have resulted in award-winning photographers losing their jobs.

Narciso Contreras recently lost his job for removing a video camera that was visible in the bottom left-hand corner of an image of a Syrian rebel.


From this, we can conclude that the Guardian newspaper is taking the photography standards very seriously indeed and want to be represented as being ethical when reporting and documenting a story with images. Newspaper companies issue stringent guidelines that only minimal lightening or darkening of an image is acceptable, i.e. if under or overexposed. I also believe if the image was able to be cropped this would be have been acceptable.

Whether these photographers should have lost their job or not is debatable. Still, the fact remains that some newspapers/magazines do use images that they know have been edited or actually do the editing themselves. I am not sure whether the newspaper companies that have sacked the photographers for manipulation of an image are only doing so when caught by an outside party. I think we can say that the higher end newspapers and magazines are trying to maintain some ethical responsibility, and as mentioned earlier, do have stringent guidelines.


The image above by Keven Carter


When viewing an image, we automatically come to conclusions that are based on assumptions running through our minds at the time of viewing without really finding out the facts. The picture above was deemed unethical by some critics, basing their criticism on the image alone. You can see their point if you believe that the child is still alive and not going to receive any help. As I understand it, the child was not alone, and the parents were just out of shot while receiving aid from the relieve truck. It is believed the child survived. In this instance, the image was ethical and probably helped others in their situation by narrating the need for help.

In conclusion regarding ethics, manners and good taste. The first question, should you be taking the image? If at the time you consider the image as ethical and will help in the narrative if it is not against the law and won’t damage the reputation of the subject, then capture the picture.

You could ask yourself “If this was my Gran, would she mind?” If the answer is yes, then don’t take the picture. If you are on the street and zoom in through a window to a room and someone is getting some personal attention, should you take the image? The answer is clearly no; it’s not ethical or in good taste. Ask your Gran if you don’t believe me.

If you zoom in to a large window and people are standing there on purpose with no clothes on and obviously having some fun showing the outside world, should you take the picture? Yes, they have clearly given up their right to privacy by parading themselves in the window. It is, however, still bad manners and could be against the law. I think how the images are used would be the deciding factor.


4.Barry-Senior (1)

This was for me quite a difficult assignment, I decided on ethics in Photography not really knowing much about it as far as the photojournalist was concerned. I chose it because on a previous assignment, I had reservations about using some of the images I had taken, I wanted to investigate my own feelings and the opinions of the industry. What I have found is that the newspapers are not always truthful in the images they show and have a very flexible standard as far as ethics are concerned. As mentioned earlier, some photographers have been dismissed from newspapers for removing clutter in the shot while others have not for doing similar things. I will try to be objective and do the right thing when deciding whether to take the picture. I think in the end, it is what the image is to be used for that matters the most.

The work above has been reworked after feedback from my tutor I have included the feedback report. While revising the work I have tried to take on board aria’s, he pointed out I have reduced the text to try not to sound as if I was on a tangent. Referenced, where I quoted and generally tidied up the text. I have used Grammarly to spell check and also check the grammar.     


The idea for assignment five

(People of Stalybridge that had relatives that worked in the cotton mills)

I have changed this Idea. And restarted the Assignment called Abandonment. Looking into things that seem abandoned, usually buildings.



Assignment 4 exercise one: The camera work essays 2005, David green

The camera was used to observe and record individuals on a regular basis, in the belief that the camera was an objective way of recording truth and showing the images as evidence of that truth, this is now discredited as the camera, and the operator can all so subjectively use the camera.

(David Green, but the construction of new kinds of knowledge about the individual in terms of visible physiological features by which it is possible to measure and compare each individual to another.)

The camera became the tool of choice when recording subjects as anthropology, medicine, and criminology. in using the camera in a subjective way and not really knowing its ability mislead, we ended up with something else, a development into semiotics and a new form of knowledge. When we look back at the images in the paper, I get a sense of sorrow that the individuals were put through, what now seems like a degrading process unless of course they were told the full extent and importance of the images at the time, but I doubt this very much.

The gaze of the camera was ever-present its ability to record and the very fact that the camera was and still is being used to record and observe people. Is In its self an emblem of power.

If a photograph is to be used as evidence it must have been taken by a set standard and by a trained individual using that set standard that is accepted by the governing body.

OCA Photography Two: Documentary barry511915. Study and Research : Assignment Three

This is my Interpretation of David Campbell lecture.

The Documentary Image, thinking about the images and the world.

What the Image can do to impact change, Tod Pepper George said: ” If your image isn’t good enough you are not reading enough”. Reading is all about research, gaining an understanding of the subject you are going to make images of and or write about so that your image as a context about the issue being viewed.

The event is not something that happens, things become events over time, through the narratives told about the collection of things that happens at a particular time. It becomes an event through the narratives about the collection of happenings.  And only become significant after being told.

Research is vital because you become part of the story, that you are making Images of you become part of that narrative, and others become part of the narrative. Your perception of the narrative will be different than there’s the difference creates conflict, the narrative is influenced by the differences, the narrative has now evolved into a more complex story. Looking from the outside as a viewer, the imagined narrative is a different story than that of the photographer. In that, the photographer is part of the story. The viewer will build a story based on his past experiences and knowledge of the subject, but included in that narrative is the photographer who is part of his story.

The viewer can only come to a reasonable narrative if the correct building blocks are presented to him in the Image. (“You can’t make the assassination of JFK into a comedy” Heydon White”) . We should also remember that photography will need an angle, and some things will have been left out. It is impossible to include everything, perhaps in a deliberate way to guide the viewer down a particular path in his/her narrative. Knowing what to leave out and what to include is the central part of understanding the construction of the Image/story this is something that the structure, helps with It must have a beginning a middle and an end. This offers a feeling of completeness for the viewer. This completeness is false because it is made up of the narrative that the viewer as constructed in there mind. It has a thread of truth running through it, but it is still fantasy, each viewer will have a different perspective of the image based on their life experiences, but will still feel a feeling of completeness. Connecting the Image to the context, It is something that we should aim for if we want to convey information.

We must research the subject before we take the images if we intend to tell a story with context. The power of an image can influence change if it is made in the right context. The Vietnam war was one such war that was influenced by Images. The image of the little girl running down the road badly burned with no clothes on is said to have brought abought the end of the war. This is fiction, and although it did seem to have an effect on public opinion, it obviously didn’t bring about the end of the war because the war didn’t end until three years after.  Iconic images don’t hold up to scrutiny and never change anything; it is only the thought and research that goes into the Image that changes things. The Image is only the tool to convey the message if the context is wrong, perhaps because of inadequate research, the information won’t be transmitted.

Research surrealist photographers

Martin Stranka

Stranka’s work is very surreal, but not in my view on a documentary level. I don’t think he is trying to make any particular point. When viewing his work, I feel he aiming for the art ordinance that is influenced by the likes of Gregory Crewdson and is made for one purpose, and that is to sell, not that there is anything wrong with that, good look to him. From what I have seen of his work, he is doing very well. And I would love to own one of his Images. He makes images of your dreams or space just in-between, and in that sense, if you were to make a documentary about dreams, you wouldn’t go far wrong in getting his advice.



“(https://www.artpeoplegallery.com/martin-stranka-photography/ accessed 10/02/18)

Straka’s work is all very similar in style I can see why it is popular, but on the other hand, I don’t think it is unique in the sense that I understand photographers need to develop a style. I think they need to change the concept of each individual Image if the images are limited to sell. For me, when I view the photos together, I get a sense of the same, the surreal has become the norm when seen together. Strank’s work could be a collection of the same dream.

Ronen Goldman

Goldman’s work is surreal, unlike Straka’s work above, I feel that Goldman’s work is more dreamlike; it has a sense of humour and less straightforward than Stranka work. The colour in Goldman’s work is running through the mane of his work, and I feel this is part of his style. Red and blue feature a lot in his work and as we know these are contrasting colours, the colours make you look for longer, because they are not quite right together and most people wouldn’t work this out, they would leave the image with a sense of curiosity in there subconscious. Having just made the statement about colour, not all his work has vivid colour, but these images stand on there own. Each individual image is separate and has its own story to tell. There are some similarities that you could associate with the style. Things floating repetition of props, bright colours, and so on. I think the style comes from the concept and the way each image has been constructed almost entirely different from the next, not one dream leading from another but from the different dreams on different nights.

Ronen Goldman recreates his mesmerizing and haunting dream fragments in a six-year series called The "Surrealistic Pillow" Project.


(https://www.pinterest.co.uk/pin/27232772727350741/ accessed 10/02/18)

Quote page 71 at the bottom.

In sociology and anthropology, reflexivity is understood as the acknowledgement on the part of the researcher of how there own cultural background preconceptions values and opinions affect the way they interpret the data they collect.

Anastasia Taylor-Lind

I have just come across Talor-land while researching photographers in general, she has been involved in a new project, in Rohingya for the human rights watch.  “It impossible to get to where the crimes are being committed, other than on highly staged and controlled state tours.” (British Journal of photography issue 7867 2018)

While studying the effects of war and how it is portrayed, she had the idea, that perhaps we could do it a different way. Instead of showing the people as victims of war, Present them on the other side as individuals that have come through it to survive the suffering. To photograph them as individuals with dignity, to use their story along with there the picture showing a proud and dignified person, not a person at the lowest ebb of despair grasping at any straw to survive death.

rohingya web1.JPG

rohingya web14.JPG

rohingya web6.JPG

(http://www.anastasiataylorlind.com/rohingya-massacre-survivors (accessed 03/03/18) )

One of the women is Rashida, she escaped being burned alive and insisted her picture be taken in the act of defiance towards the ethnic cleansing and murder of thousands of people. Anastasia Is sharing the images with the media to show the world so the crimes or on record for the world to see.

Mark Power.

Power has been making images for over 30 years remaining old school regarding technology, i.e. Instagram only joining in October 2015 after a lot of convincing by his daughter and only then after she agreed to manage the site. He has published eight books to date. Destroying the Laboratory for the sake of the experiment (2016) being the most recent.



(www.magnumphotos.com/theory-and-practice/mark-power-destroying-the-laboratory-for-the-sake-of-the-experiment) ((accessed 05/03/2018)18/03/18))

Towner Art Gallery, A green and pleasant land, British Landscape and Imagination 1970s to Now

(http://www.townereastbourne.org.uk/exhibition/a-green-and-pleasant-land/) (accessed 03/03/18))

Bruce Davidson

Davidson was born in 1933 and first became interested in photography at a fairly early age while working in a local camera shop. A local photographer called Mr Cox took him under his wing, he learned by watching going on shoots and by being at the photographer’s elbow. He studied graphic art at Yale University and for his thesis, he chose photography and, decided to photograph the college Football team not the football its self but the nitty-gritty in the changing rooms before and after the match. By a stroke of luck, the images were published by Life magazine he was about 20 at the time. Like many photographers of his time, he found inspiration in the work of Henri Cartier Bresson. Has he matured as an accomplished photographer his work became

“Harde and Sharper”.  He went on to photograph for long periods sometimes over many years before publishing his work. “I learned from one body of work to another”

( the information in the above on Davidson has been obtained from the Digital camera 201 April 2018)

“You need to have passion and purpose as a photographer.”


(https://uk.images.search.yahoo.com/search/images?p=Images?p=Davidson (accessed 08/03/18))

(https://uk.images.search.yahoo.com/search/images?p=Images+Frank+The+Americans (accessed 08/03/18))


Viewing Davidson’s work, I get a feeling that is is similar in style to Franks, work  The Americans. This comes across to me in other photographers work that the Images in  America seem to have a connection with each other, this, of course, is probably only in my mind. See the images below and see what you think.

Davidsons Images are taken later than Franks, and although they are similar in style, I don’t think any copying styles are at work. America, in general as its own distinctive Americanism contribute to the similarities of the images, the Americanism being the most influential the equipment and the dates of the shoots. If we look at Peter Dench’s work, although very modern in comparison and in colour, they also have similarities.















Jacques Henri Lartigue (1894-1986)

Lartigue was a candid photographer and started as a boy taking images of middle and upper-class family and friends, his images are snapshots of everyday life. A refreshing change from the formal images of the time. His images are in some ways ahead of there time they show movement and tell stories of everyday life of the upper classes in France at the time.   “I have never taken a picture for any other reason than that at that moment, it made me happy to do so.” Jacques-Henri Lartigue. Later in life, he went on to take images of the UK and America. He didn’t show his work it was a personal collection until he had a chance meeting with John Szarkowski in 1962 Szarkowski must have realised the importance of the work, this led to an exhibition at the Museum of Modern Art in New York in 1963. His work wasn’t influenced by anyone else he became a photographer at the age of six. This led to his own individual style well ahead of its time. Boyd described his work as being in the Van Gogh division.

(https://www.michaelhoppengallery.com/exhibitions/132/overview/ (accessed 16/03/18))

Dench would have liked to have taken this images it is very similar to his style as well as some below.

Jacques Henri Lartigue

A bord du Dahu II, Royan, Juillet, 1926
Silver gelatin print
30 x 40 cm
Edition of 20
Artists stamp on verso

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Jacques Henri Lartigue

Carnaby Street London, 28th June 1967
Vintage silver gelatin print
30 x 40 cm
Signed in pen on recto.

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Jacques Henri Lartigue

Coco at Eden Roc, Cap d’ Antibes Septembre, 1938
Silver gelatin print
30 x 40cm
JHL Association blind stamp on recto, title stamp on verso, with JHL Association print certificate.

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Image result for lartigue photography gallery




OCA Photography Two: Documentary barry511915. Assi three Exercise Six: Roberts We English

Roberts is an excellent businessman, his command over marketing is fundamental to his success and without it, he probably would have been mediocre like the rest of us. He says photography is 20% making pictures and 80% banging your head against a wall, this only goes to show you that to be a good well known Photographer you need the tenacity to continue when all of the universes seems to be against you. The images in his work are a record of what, We English do in our free time. He has accomplished this refreshingly and straightforwardly.

They are reminiscent of old paintings, and of course, this was the intention. The composition is Tableau and is meant to be unaware of the viewer. To draw the viewer into the scene and create a narrative in mind.

A bit of a contradiction in this image perhaps he should have named we British. But still, it draws you in and holds you there, The work has anthropology feel a record of the free time of the peoples of this Country.  Some of the images seem a little overexposed as far as the sky is concerned, see below.

I don’t know if these images will be edited out or if it was Roberts intention to use these but can’t get past the dull white sky.

Exercise Five Assignment Three

Koudelka’s and Eskilden’s

Koudelka’s work is closer to the people he has captured the Gypsies in there every day lives. The images on the first page of the book show a man standing or leaning against a wall looking ominous as if to say what are you doing here or what do you want. Even today, we still have an impression of gipsies being untrustworthy, and a little bit frighting and this image give that impression. I would imagine that is why he chose the model for the first page. He blocks you as if to say what do you want but at the same time generates your curiosity to want to see more. Moving on through the images, you get a feeling of normality and familiarity as you get comfortable with the people and their way of life. Koudelka as captured the people as if they were family and friends, and of course they were friends with him as he lived with them for some years. He has achieved a closes ness that only someone very close could have captured this is one of the reasons that the images are so powerful in resonating the feel and spirit of the people. In almost every Image he has got up close and personal, but not only that he as captured images of relaxed people comfortable in having their picture taken with him, allowing the spirit of the people to come through. The composition of the photographs is something else we could look at. The composition of the boy sitting on the table seems a little strange, and I wonder why he has shot it from such an angel.  There is quite a bit of debate about the image, how he as left a lot of negative space to make the boy look smaller and more alone, or isolated but it seems to me people are reading into the image things that are not there. He as put him up on the chair to capture the boy full-frame shoes as well.  It was probably the boys birthday or something, and that is why not a lot of thought has gone into its composition. Or if you believe what has been written that a lot of thought has gone into its composition. The choice is yours to make. The images of the three musicians is a powerful shot, and again one of the reasons is that he has got up close and personal. He has got them to walk towards the camera in the opposite direction than the rest of the crowd or looking and manage to capture them in a triangle format giving compositional stability to the image.   We find this triangle format or technique in a lot of the images. This is something he will have had in his mind when taking the images. I don’t think it is a conscious thought it is something that comes with practice when looking through the viewfinder you see the image coming together in a split second you click and there it is the triangle. As far as a documentary is concerned, I think Koudelka has done an excellent job in the respect that the images tell the story of how the Gypsies live. They are not as we thought or imagined them to be, but more like us than we would have first thought going by the stereotype impression that would have been about at the time.  Just ordinary people with there own customs and traditions that every individual culture has.

Eskildsen’s Work seems more modern as of course, it is, the use of colour and a less involved approach, although she says she lived with the Gypsies, I don’t think it was on the same level as Koudelka. That being said with the information I have, it does appear that Eskildsen used a more standoff approach, not that there is anything wrong it just two different styles. Koudelka style is for want of a better expression old style while Eskildsen is more modern looking, cinematic in style and has a hint of Gregory Crewdson’s work. See pictures below three are Crewdson, and three are Eskildsen.



Eskildsen’s work as far as the gipsies go is not as raw as Koudelka’s work it could be that it is just that the work is done in black and white and has removed the distraction the main difference is the closeness as opposed to the outside looking in the approach of Eskelsen’s work.

If you take the image below and compare it with Koudelka’s picture below, you can see that Koudelka as got closer to the people. He knows his subject better the people are a lot more relaxed with him, welcoming him into there homes regularly. 

In conclusion, if we can reasonably compear these two styles, Koudelka, has done a better job Documentary speaking, he has shown the lives of the people uncompromisingly. Having said that I think Eskildsen’s work is excellent on two levels it is a documentary story in its own right but also has a style that is appealing on an arty level if I can use that terminology. As mentioned above, I have noticed a resemblance to Crewdson’s work that sells for thousands.




Exercise Four Assignment Three

Paul Close Exhibition

(http://www.insight-visual.com/paul-exhibition.html accessed 23/02/18)

Look at Paul Colse’s environmental portraits. Analise his visual style and consider whether the images work as documentary photographs, if so why. Close’s has presented the individuals in such a way that you can’t help be interested in the images first of all and then the storey behind it. The portraits work as environmental portraits because they haven’t removed the subject from the environment they live and work in. He has separated the individuals from the masses and presented them as individual people in a sense saying that each person should have their own voice, rather than showing a large group of people that possibly look vulnerable or suppressed in some way. Close as singled each of them out, but a the same time he has kept them in there own environment so they can say look at me   I am an individual and I live and work here giving them power.  Close as given the subjects an individuality by using the white background as a contrast with there environment.

I did a similar thing for assignment four.



Exercise Three Assignment Three

Brief Read the first chapter of TouristGaze. pdf Write a reflective commentary about it’s relevance to documentary photography, about 200 words.

I was a little perplexed as to why we needed to waste time on this exercise as I cant see the relevance unless we think about the imagination being part of the relevance to documentary photography. We use our imagination to construct narratives in our mind when viewing images. The images bring back memories from our past and create new ideas for the future. Mentioned in the article when viewing Rambrant in an art gallery the name as has much to do with the appreciation of the work as the painting it’s self. Just the mention of the name congers up all sort’s of thoughts and images in the mind.   So if we use this idea that pleasure comes from the daydreaming and imagination then, Documentary Photography as a big part to play in fuelling that imagination and conveying knowledge.

So the gaze has much to do with longing for what we see as it does for obtaining information, and when we obtain the object of our longing it inevitably disappoints use because it can’t compete with our imagination. We move on to the next thing of our desires. It is the gaze and the imagination and desire for more that will keep Documentary photography at the cutting edge. So the relevance of this article to documentary photography is in the gaze and the imagination and the desire for what is being presented whether that is something we want or knowledge we are receiving.