OCA Photography Two: Documentary barry511915. Assi five : Exercise five: Kingsmead eyes project.

The school project was interesting, not only did it shows some forward thinking for the future of photography, in one of the voice overs the child even aspires to become a photographer. Some of the images were really interesting its nice to see the schools showing interest in photography at an early age. I wasn’t a fan of the drumming and the video flashing the faces past at speed, I think it was a little aggressive for want of a better word, something more gentle I think would have been better. The voices overs of the children worked well and gave the individual set of images a personal presence relating the images to the personality and life of the photographer. The images were of a good standard and very honest. I am not surer why the children were mostly of a foreign background I suppose this was due to the demographics of the school. The project was a good Idea that got children engaged at a fairly early age.

OCA Photography Two: Documentary barry511915. Assi five : Exercise four. Post documentary photography, art and ethics.

The first point Martha Rosler, made” aesthetics is threatening to colonise our gaze.” The academics in the discussions about aesthetics ver ethics is threatening to colonise. can’t the two coexist in the one form can’t a document also be aesthetically pleasing even if those, aesthetics are not appreciated by everyone. One person’s arrogance towards a particular image would be undemocratic but to dismiss, the arrogant opinion would also be undemocratic. Can we not except that ethics and aesthetics coexist, has one you cant remove one from the other everything as aesthetics the only conclusion is to view in the context that the image was first made for.  When that context is no longer relevant or has faded over time the Image can now be viewed for its aesthetics, the two coexist like Ying and Yang. Talking about the aesthetics of an Images is like talking about water it is fluid you can’t put your finger on it it is individual to the viewer like a fingerprint, ethics, on the other hand, are manmade and have evolved over many years into a standard that can be documented into an agreed form of ethics, the problem with this idea would be the different levels of ethics people work on. The twin towers were mentioned earlier in the course  an image “The Falling Man” of a man falling from one of the Towers was criticised as being insensitive and the photographer’s ethics were called in to question as he presumably not taken into consideration the relatives of the victim, where did this criticism come from it came from the unethical section of the media using the image and the controversy around the use of the image and the effect on the relatives, the media created a storm around the image for there own gain. And to this day not one relative has come forward and Identified the Falling Man as one of there relatives.

In these exercises, we talk about the desensitising effect the constant bombarding of images can have, reducing the impact that an image has on the conscience of individuals, I don’t want to be the bringer of bad news but when we talk about what Susan Sontag’s work and try and justify her stance. What we should now be saying is post desensitisation, it’s too late for debate whether it as a negative effect  for the last ten years at least we have been able to gain access by use of the mobile phone to any image imaginable and from an early age it is seen as fun to show each other the most gruesome and disturbing images possible. A new debate needs to be started and that debate should start post desensitisation.


OCA Photography Two: Documentary barry511915. Assi five : Exercise Two. ‘The Judgement Seat of Photography’

Trying to read this article proved to obscure and the constant referral to this reason and that reason that photographer this photographer was probably ok at the time for the writer as he would have researched them but now is no use at all unless you are making a study of the article and or the photographers in question. It was far to difficult to read for the simple reason that it was written for the academics of the day, the people that could relate to what was being said. I have had three attempts at reading this on two occasions I fell asleep and after trying for the third time I have given up and am writing the reasons why now, I can not relate to what they are saying and don’t understand the reason why I need to try, Trying to relate to something that was written as an exercise in  a study of long ago has been a waste of my time.

OCA Photography Two: Documentary barry511915. Assi five : Exercise One Cruel & Tender.

I was unable to gain access to the interview of Rineke Dijkstra Fazal Sheikh as every link I tried was not working.

I did, however, view some of the images I found Rineke Images repetitive in style and content, and somehow reminded me of Michelle Sank work The young carers, The vulnerability in the work is clear to see, the relationship between the photographer and the sitter is clear the Photographer was clearly in charge of the way the sitters was posing this created a feeling of a constructed images, a clear difference from Sands work. I felt like the work of Rineke was along the lines of a topology, I would say this came from the repetitiveness of the work rather than intentional topology. The work seems to be a sort of social record, but again I find this a little confusing as the photographer seems to have had total control over where the Images are taken, so can only express the photographer’s Ideas of a social record.

((‘ The Decisive Moment’ (Henri Cattier Bresson )  I believe that, through the act of living, the discovery of oneself is made concurrently with the discovery of the world around us, which can mould us, but which can also be affected by us. A balance must be established between these two words – the one inside us and the one outside us. As the result of a constant reciprocal process, both these worlds come to form a single one. And it is this world we must communicate.  ) (Context and narrative AVA Publishings (UK) 2011))

The quote above I found to be very fitting to what I was trying to say. I must at this point out that the opinion above is based on very limited and incomplete knowledge and is only meant to express my thoughts on the exhibition with the limited information that I have found so far.

OCA Photography Two: Documentary barry511915. Assi five : Exercise Three. Jim Goldberg Talke about is commissioned exhibition for the 2004 Olympic’s In Greece.

This exercise was to listen to Jim Goldberg Talke about is commissioned exhibition for the 2004 Olympic’s In Greece. He was commisioned to take Images of the economic migrants living to Greece illegally.

I am not sure if it works as a documentary exhibition in the Art Gallery. For me the message is confused, and I am not sure what he is saying with the mix of Images, I think he is trying to tell more than one story with the selection of images he has chosen and this for me at least has confused the story, is it about the immigrants that have gone to Greece? Is it about the reasons they have had to migrate in the first place? Also, does the story need to be told in an art gallery? It is part of the story of Greece and was commissioned as part of the celebrations for the 2004 Olympics could a more appropriate place for the exhibition be the stadium. The story is a documentary story a record of the time. I am not sure about the choice of images unless I have made an error I can’t see where the Image of the boy in the polluted river come into the story as the river is in Ukraine. One or two of the other pictures seem out of place. He talks about an underground economy but doesn’t clarify where it is, is it in Greece or in the country they are coming from? The Images would imply that it is a poor underground economy in the Country they come from and that is the reason they are coming, to escape the poverty.

I think the work was commisioned to show Greece in a good light as a Country that will help people and give them refuge were ever they come from showing Greece as a caring Country a Country that at least tries to help if possible.

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

I must admit I haven’t paid much attention to the images shown on tv with regard to war I hadn’t realised that there were such restrictions put on the war photographers under the guise of keeping them safe but the restrictions put on them and what was allowed to be printed I find pretty alarming. I have always thought that the Iraqi war was an unjust war and there was a better way to deal with President  Hassan. I have remained ignorant to the steps the US and probably the UK have gone to pervert the story of war by restricting the freedom of the photojournalism. At the time of the Iraqi war, Guantanamo Bay as far as I could tell was a Detention camp for the suspected terrorist, that is ok in wartime but is it ok to torture someone that could know nothing. At this time we became no better than the terrorist themselves along with the detention of children to blackmail to try to extort information. Hitler would have been prowed. We now rely on the amateur journalist to tell the storeys that were once the job of the professional and the decisions of the photo editors. Don McCullin was prevented from going to the Falklands by Mrs Thatcher under the guise that was no room on the ship, this is in its self a sensor ship and an infringement of the freedom of the press. We as a nation that now prides itself on having learned the mistakes of our past, It is hoped that we as a country will act with integrity at all times but when you restricted individual freedoms the country as a whole is worse off this includes the press photographers this in turn prevents people from making an informed choice.

OCA Photography Two: Documentary barry511915. Assi four Exercise Four. To print or not to print.

Print or Not to Print

As far as the image of the train bombings in Spain, I ask my self the question what is the difference between printing in black and white and shading the red blood to make it grey. In both cases, you are removing the graphic content of the Image so as to be acceptable to the reader, to give the reader the story without shocking the more sensitive of the general public including children that could see the Image. I think a sensible line was drawn by both Newspapers, both manipulating the image to make it acceptable to the perceived sensibilities of the general public.

The Burned soldier

The image of the burned body is a graphic reminder of war and the consequences that face the people involved in the fighting and although graphic I think it is necessary to show these pictures if it will prevent the politicians even in some small way to try to avoid the war that they sometimes promote for spurious reasons.   Before a graphic image is to be printed and publicised certain question should and need to be asked. These are my thoughts on the subject. First, is the Image going to upset and or traumatise the relatives of the deceased, or as in the Image of the burned soldier is the Image  ominous, second is the printing of the Image for a good reason, i.e. will it emotionalise  people for a productive reason, i.e. promote governments and or charities in to action to save peoples lives. Then there is the question of taste that overlaps some of the above. Is the image in good moral taste or is there a good enough reason to put moral taste to one side for the good of the many.  This is a question I can’t answer at this time and to be honest I am glad I don’t need to make those decisions. For me, it would have to be on an Image to Image basis asking myself some of the questions above.



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?

To shoot or not to shoot


This critical review of some of my work and asking the question of what is ethical? Discuss the ethics of the photographers and academics I have come across while studying.

Photographers, old and new.


One photographer that has come to my notice over the time on this course is Andre Kertesz. He shot a lot from the sidelines not intruding on the subjects in the images.

Kertesz was, in my opinion, a real artist, while 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. Looking at the Image below she looks like a dancer reading backstage. Kertesz has noticed this woman and the comical way she is dressed, thought about the framing of the picture and taken the shot, including some of the detail around the woman completing the story. She now sits perfectly in context with her surroundings. The images 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. So there is no underlying sneakiness on his part.

This brings me to my point about Kertesz being on a higher level, in using the camera in an ethical way than some of today’s photographers. Kertesz exhibited almost every year from 1927 until 2012 and some years two or three times all over the world. And not one of his images were judged as unethical, this, of course, could be put down to the style he used in his photography, I like to think it was to do with his principles.

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

There was some criticism Of the image below as Kertesz was known for his street  Photography and many people said it was staged so, therefore, not street photography. Even if it was a composed image, I don’t think he ever said it wasn’t. Kertesz took several Images at the same place over a long period. He could have been working on the Idea, and when he knew all the pieces of the puzzle would be there at the right time, he made the Image and brought his friend along for some four ground interest. I think the criticism is unfounded he should be praised for his planning.


(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, would Kertesz have taken this shot below?  Because in a way it is very similar the Kertesz shot above is taken without there knowledge discretely fully occupied framed by their surroundings not removed from that what Kertesz called the Human thing. I like to think Kertesz wouldn’t have taken this picture, because as I mentioned earlier, (opinion)he is on a higher plane than most other photographers. Also, the images that he has taken of nudes are far superior to this all in collaboration with the models in the genre of Art.

As I mentioned earlier, Kertesz was a true gentleman in his work. Can we put this down to the time he was born, a time when people had perceived respect for other people?

Has Lartigue steeped over a boundary in taking this images below? Possibly because he has invaded their private space, on the other hand, their faces are not shown, so they are anonymous, 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 would have been seen as rude. Was it rude for Lartigue to have taken the Image, in the first place? The Images seems to have been taken on a ship, the people in the image could be in an area where nude sunbathing was allowed. But did they know this image was taken?  In my opinion, the Image is poor the composition is in question, and the Image looks like it was made in a hurry, this leads me to think it was taken without the knowledge of the subjects, this put the image down the scale as far as ethics are concerned. I would call these bad manners. So even though the age of Lartigue was a similar age to Kertesz, he seems to be a little lower down the scale as far as manners are concerned. As I am only going off one Image, it would be wrong of me to call his photographic ethics into question and as mention above the subjects is anonymous.

Lartigue Images are similar to that of Kertesz in that they are very humanistic and usually include a woman somewhere in the image. His style is what I would call freestyle or carefree and somehow less refined than Kertesz, and are more in the form of a snapshot than a considered image a lot of his images seem to be taken in the company of friends and in places where people are enjoying life. When viewing the Images, I am reminded of Dench I find the similarities striking. Obviously, it was a different time, but the style is very similar

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

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

Now that we are in the technological age and the youth have been brought up with computers and the mobile phone capable of taking any picture they choose and sending it to there friends in milliseconds and the almost complete liberation of woman, in the UK at least. I think in this situation it changes things from the time of Kertesz. But again I don’t think it was unethical to take this images, but I do think it was bad manners as in Dench’s case, and I am sure that she wouldn’t have wanted this Image published in the way it has been, that is of course if she was an unknowing party.  If we ask the question that because she is doing something in a public place so do we have every right to capture it? As I am writing this, I am having thoughts of right and wrong and asking myself what Dentch 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, so recording what life is like for the youth when on Holliday. These thoughts are a contradiction of what I was saying earlier about bad manners. So to conclude this first part I will say that having bad manners as a photographer is OK because we wouldn’t take anything risky if we bring manners into it. 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 scratch the service as ethic’s 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, just a short walk to Piccadilly Gardens. I began taking pictures of some of the street people, as soon as I started I had a bad feeling, but I continued, I did ask some for permission and gave them a pound if they were begging. I got a strong 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 bad feeling, especially 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. 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; it’s 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 question 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, only showing the distress and suffering.

The Image below was taken with full consent. I give her 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 some barbers 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 somehow.


The image below was to show the contrast in the have’s 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, I didn’t feel bad at all taking this Image. I think she felt worse than me.


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 and decided to find and take the pictures of the people that had come through the torment of war and forced the expulsion from there home. Showing the strong, 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, war and forced expulsion are concerned. Removing them from there distress and showing them as human beings seem to be a refreshing way to show the people and then add their stores, 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 Image died shortly after the image was taken. She had been trapped there for three days before she passed. Obvious I wasn’t there, but as I have been discussing ethics in this review I couldn’t pass this one by and ask 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, as I don’t know the full circumstances. I would like to think that I would be to 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 my self, has it helped anyone or helped in preventing this from happening again? By showing the Image who has 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 especially when I read she was there three days before she passed away.

Below quotes by Don Mc Cullin

Don McCullen 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, image I have ever seen. Don McCullin didn’t take this picture, but I thought his quote was fitting.

When deciding if you should be making an Image I have come up with the following.  What reason am I taking the image can I rationalize it as being a good reason. Is the subject of the Image going to be or possibly be affected in a good or bad or neither way? What is the Image going to be used for? Is the subject so bad that I will regret taking the Image in ten years time? In the end, the stories need to be told the Images need to be taken 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 Images for assignment two. After applying what I have learned while completing this assignment /review, I can say yes I was wrong. The assignment has somehow put things in perspective, making me challenge my soft 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 the image 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 newspaper and lost his credentials to work as a photographer 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 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. So from this, we can conclude that the newspapers are taking the photography standards very seriously indeed and want to be represented as being ethical when reporting and documenting a story with Images, and Issue stringent guidelines that only minimal lightning or darkening of an image is acceptable.

Whether these photographers should have lost their job or not is debatable, but 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 the newspaper editors that have sacked the Photographers for manipulation of an Image are only sacking them 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 very strict guidelines.

In conclusion regarding ethics, manners and good taste. The First question, should you be taking the Image? If at the time you consider if the image is ethical and will help in the narrative not against the law and won’t damage the reputation of the subject then take the picture. You could ask yourself if this was my Gran would she mind? If the answer is yes don’t take the picture. If you are on the street and zoom in through a window to the back of the room and someone is getting some personal attention should you take the image? The answer has to be 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 in the window with no clothes on obviously having fun, should you take the picture? Yes, they have given up there right to privacy by parading themselves in the window. But It is still bad manners and could be against the Law? I think how the Images is used would be the deciding factor.


Image above by Keven Carter


When viewing an Images, 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 image 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 the parents were just out of shot receiving aid from the relieve truck. It is believed the child survived.   So in this instance, the Image was ethical and probably helped others in their situation by narrating the need for help.


I have found this assignment rewarding in that it as made me look at my own ethics as far as photography is concerned it has made me realise that your own feeling is not always the best place to start when it comes to deciding what to shoot. There are so many other factors to take into consideration.  In the assignment, I touched on manipulating Images and how it has had serious consequences for some photographers. I was surprised to find that a Photographer had lost his job simply for removing something that was out of place in the Image, the Item I am referring to was a film camera in the bottom corner of the image. This seems to be a little unfair on the photographer. For myself, I don’t think ethics is a problem as long as I don’t work for a newspaper, for my own work I will rely on my own judgement. I think I will need to reevaluate my manners and taste levels and lower the bar a little otherwise I could be missing some gritty images in the future. The news Papers and magazines seem to have mixed standards, magazines seem to manipulate Images all the time whereas some of the newspapers try to maintain some standards and others don’t, there needs to be a standard that is used across all media, so that only minimal darkening or lightning is permissible.   For myself, I can only make the judgement at the Image is made, as far as manipulation is concerned if the Image is for a newspaper, very unlikely, it would have to be unchanged, no editing would be done if that is what the editor wanted. These are just some of the thought processes that this assignment has brought to mind. It has taught me to reflect on the subject of ethics not only on a personal level but also on a media-wide level. And on reflection, I think the subject of ethics has been a worthwhile assignment it has made me think on a much broader scale, not only for my own work but also the work of others.


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


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

A bord du Dahu II, Royan, Juillet, 1926

Silver gelatin print

30 x 40 cm

Edition of 20 (accsessed07/07/2018)


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


“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)


(British Journal of photography issue 7867 2018)


Don McCullen 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)

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

Image above by Keven Carter



For my personal project

I have been mulling this idea around for some time. It is something I have been planning to do but have not had the motivation, but I think my personal project will give the incentive I needed to take my Idea forward. The town I live in and have lived all my life is an old mill town, Stalybridge was one of the first towns in England to have a steam-powered cotton mill, and it is said that the industrial revolution started in Stalybridge. The first steam cotton mill was constructed in 1776 and transformed the town into one of the first towns of the industrial revolution. The town became very wealthy, and more and more mill was built in the area of about five or six square miles approximately 44 cotton mills were built creating thousands of jobs. The mills needed people the people needed homes, so hundreds of houses were built all over the surrounding area, most of the people that lived in Stalybridge lived in a please called Castle Hall. This brings me to my Idea, I thought it would be a good idea to find people in the town that are from Castle Hall or their parents and or grandparents, and take their portrait, and include a few word of their own with the Image, to link the past history of the old mill town with the town now, mounting the images on hessian that was used before cotton was made and used in the transportation of cotton in hessian bags a sort of a metaphorical link to the past history of the mill town.