FINAL 8 IMAGES

Here are my final 8 edited images, all are film except my establishing shot. with the film images I initially wasn't going to do any editing to them but after talking to Andy we decided that some editing was required and he showed me a few techniques in Photoshop that where similar to dodge and burn in the darkroom, this allowed me maintain the authentic look I wanted to keep by using film but give the images depth and contrast.

Establishing Shot.

Concluding Shot

From the images I've produced for this assignment I hoped to of achieved a sense of nostalgia. I tried to relate my places of interest to the war, by using film photography and text which i found with information to the bomb sites in East Lancashire during World War II. I also hoped that in photographing everyday places in a fair bland style and using informative text together they would create an impact on the viewer.

PRESENTATION PROCESS

When deciding on how to present my images i was unsure how best to do this as without the words the pictures don't really mean anything.

Initially this was how I'd decided to present my final images, unedited and with the words written on them. After discussing this it was decided best to present them without the words using some editing and include a power-point presentation along with the prints so they could be viewed how I initially intended.

Below is one of the final images along with the editing I'll be using on the rest of the final images.

INTERVIEW - ETHEL JAMES

Ethel James

(My Nan)

Although my photojournalism was based more on places rather than people i thought it would be interesting and beneficial to hear first hand someone's memory's of the war.

My Nan was 17 when the war broke out and at the time lived in Kent, she volunteered to become a member of the Land Army, and this was to be the first time she lived away from home. As part of the Land Army her job was anything from peeling potato's to plowing the land.

Below is her certificate and medal which she recieved in 2008, Gordon Brown issued them to surviving members of World War II's Women's Land Army and Timber Corps in recognition of their contribution to the war effort.

to learn more about the WLA (Women's Land Army) you can visit this site: http://www.historylearningsite.co.uk/womens_land_army.htm

My Grandad was also in the Army he has now passed away but i did find out some information regarding his time in the army.

He was a Private in the Q.O Royal West Kent Regiment and served with the Colours for 3yrs 192 days and as a Reserve for 3yrs 93 days.

His initial training took place in Blackpool, which people will now know as the Pontins holiday camp and for a duration of 2 weeks. During his service he travelled to several places and whilst in training at Warwick a shard of metal went in his eye, this resulted in the loss of his eye. As he recovered in hospital his Regiment where deployed to Burma and all members lost their lives.

below is a picture of his Certificate of Service and medal For Loyal Service.

Darwen Roll of Honour World War II

i decided to look up war veteran's in lancashire and whilst doing this i came across Darwen's Roll of Honour. below is some of the info from the site.

This Roll of Honour has been completed from chronologies listed at the end of the year in the pages of the 'Darwen News'. It firstly lists servicemen that are known to have died, secondly the missing, presumed killed, and thirdly awards.

The Roll lists all these who died whilst serving King and Country together with the seven civilians killed during the German bombing raids on Darwen during the weekend of the 19th-21st October 1940. The Roll also lists all those who were reported missing and presumed killed (those recorded as P.O.W. are not included). the Awards page lists those people recorded in the 'news' as being decorated for their war efforts, including two posthumous awards (one of them being the Victoria Cross).

One could sense the sadness in Darwen during the war when compiling this when yet another Darwen casualty was announced. Almost everyone was affected in one way or another regardless of their status or class. Recorded in the list of those killed is one Captain Stuart Russell, Darwen's Conservative Member of Parliament.

information taken from:http://www.cottontown.org/page.cfm?language=eng&pageID=1777

BLACK STAR RISING

ABOUT BLACK STAR RISING

Since its historic beginnings in the golden age of American photojournalism, the Black Star photographic agency has been committed to mentoring both its photographers and its clients.

Black Star Rising is an attempt to e

xtend this ethos

of teaching — and caring — to a broader audience

PHOTOJOURNALISM

Today, the profession of photojournalism as we know it is threatened by technological transformation, by the rise of video, by fragmentation of the media. It’s under fire from a suspicious public – watchdog bloggers, cable and radio pundits, and other critics who question the profession’s credibility and authority to bring us an accurate picture of the world.

Below is a picture of the e-book i looked at which has been produced by Black Star Rising. after looking through it i decided to make bullet points on the text i read below are the main things which i thought would help me understand the role of a photojournalism photographer and the struggle they face with new technology and ethics.

http://rising.blackstar.com/photojournalism-technology-and-ethics-whats-right-and-wrong-today

• pictures must always tell the truth.
• photojournalists have never been govenered by formal ethical standards.
• altering photographs is unethical, Associated Press states

"Electronic imaging raises new questions . . . but the answers

all come from old values . . . Only the established norms of

standard photo printing methods such as burning, dodging,

toning and cropping are acceptable. Retouching is limited to

removal of normal scratches and dust spots . . . Color adjustment

should always be minimal".

• staging photographs is unethical
• credibility is essential, audiences need to believe they can trust in what they see and read.

MAGNUM

ABOUT MAGNUM

"Magnum is a community of thought, a shared human quality, a curiosity about

what is going on in the world, a respect for what is going on and a desire to

transcribe it visually." -Henri Cartier-Bresson

Paris. 1957. Magnum meeting. ©Magnum Photos

Magnum Photos is a photographic co-operative of great diversity and distinction owned by its photographer-members. With powerful individual vision, Magnum photographers chronicle the world and interpret its peoples, events, issues and personalities. Through its four editorial offices in New York, London, Paris and Tokyo, and a network of fifteen sub-agents, Magnum Photos provides photographs to the press, publishers, advertising, television, galleries and museums across the world.

The Magnum Photos library is a living archive updated daily with new work from across the globe. The library houses all the work produced by Magnum photographers and some special collections by non-members. There are approximately one million photographs in both print and transparency in the physical library, with 350,000 images available online.

Within the library, most of the major world events and personalities from the Spanish Civil War to the present day are covered. There are constantly updated profiles on most countries of the world, covering industry, society and people, places of interest, politics and news events, disasters and conflict. The Magnum Photos library reflects all aspects of life throughout the world and the unparalleled sense of vision, imagination and brilliance of the greatest collective of documentary photographers. In short, when you picture an iconic image, but can't think who took it or where it can be found, it probably came from Magnum.

above information taken from the Magnum website: http://agency.magnumphotos.com

PAUL GRAHAM

Paul Graham (UK, 1956) belongs to group of photographers born in the 1950’s, who form the last generation to engage with photographic practise before it became part of the contemporary art world. Whilst later image makers would approach the medium as ‘artists using photography’, this grouping - which includes Nan Goldin, Andreas Gursky, Rineke Djikstra, Thomas Struth and Philip-Lorca DiCorcia - committed themselves to the medium at a time when it not an artistic strategy, but an expresssion of a visual consciousness of our world.

Paul Graham's Work

just a few of the images i liked from Paul Graham's body of work.

ABOVE IMAGES TAKEN FROM PAUL GRAHAMS ARCHIVE, BEYOND CARING 1984-85

http://www.paulgrahamarchive.com/beyondcaring.html

Graham was among the first photographers to unite contemporary colour practise with the classic genre of 'social documentary'. Photographers such as Martin Parr made the switch to colour soon after, and a new school of British Photography evolved with the subsequent colour work of Richard Billingham, Tom Wood, Paul Seawright, Anna Fox, Simon Norfolk, Nick Waplington.