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Ethics Doug Stevens. ‘Magazines and newspapers should not show dead bodies’. https://iconicphotos.wordpress.com/tag/bloody-sunday/ In context, the link was emotive in itself. “BLOODY SUNDAY” It was not what I knew as bloody Sunday, but a Revolutionary moment in 1905 – you learn something new each day. The image itself in the article is a secondary historical source, and as such, has much more immediacy than the tertiary accounts that may have been made at the time. BUT, death is part and parcel of life. It may come naturally, it may come violently. It may come as an instant, it may take years (Cancer / Concentration camps, etc., come to mind.) It can also be used to highlight struggles and issues. One dead body or very nearly dead (The immolation on the monk / the child burned by Napalm, the child photographed by the Bang Bang Club) can alter people’s consciousnesses http://100photos.time.com/photos/kevin-carter-starving-child-vulture The photographer got abuse for not saving this child. Alternatively, you can argue that he save many more by highlighting the issue in Southern Sudan. (Kevin Carter – Bang Bang Club.) Article about press intrusion and Sienna Miller http://www.bbc.co.uk/news/in-pictures-16282985 The article is about the Paparazzi and their relentless “hunt” of Sienna Miller. Firstly, let’s look at Sienna Miller – CELEBRITY. Now look at the photographers in question – PAPARAZZI. Both of these are subsets of a much larger area. Most journalists do have ethics embedded in them from college / work / life. Paparazzi chose a style and utilise “questionable” tactics to get their shot. To them the shot is all. The Statement is secondary. For Sienna’s part, I equally have very little sympathy. She is in her chosen profession. She years publicity. A more important part of this the point: “If the person in the photograph is in obvious distress or danger, should the photographer put down the camera? Are there circumstances in which the photographer should provide help or assistance? If the photograph is taken, after all these considerations, who will see it? How will its future dissemination affect the people in the photograph?” Example: I was covering a food festival, taking panoramic shots from across the street. With my camera still up, I panned right and left, and saw the drama unfold. My camera is always on motordrive, so firing two or three shots per second is nothing. As soon as I processed the incident, the camera dropped and I ran to help. Immediate Action comes before sensationalism. After first aid was given, and Ambulances called, and I was sure no threat to life existed, I engaged Cathleen and spent the next hour and a half talking with her, before asking her permission to take her photograph. For me, there was no judgment call to make. The photograph is almost an accident. If I hadn’t got this image, I wouldn’t have cried in my milk. In a more serious incident, my ethical stand would be similar. I’ve deliberately NOT published images that involve serious injuries in motorsports, and if I’m able to do so, I WILL get involved in the incident.. https://iconicphotos.wordpress.com/tag/bloody-sunday/ It can also be used to highlight struggles and issues. One dead body or very nearly dead (The immolation on the monk / the child burned by Napalm, the child photographed by the Bang Bang Club) can alter people’s consciousnesses Article about press intrusion and Sienna Miller http://www.bbc.co.uk/news/in-pictures-16282985 Firstly, let’s look at Sienna Miller – CELEBRITY. Now look at the photographers in question – PAPARAZZI. After first aid was given, and Ambulances called, and I was sure no threat to life existed, I engaged Cathleen and spent the next hour and a half talking with her, before asking her permission to take her photograph. Both of these are subsets of a much larger area. Most journalists do have ethics embedded in them from college / work / life. Paparazzi chose a style and utilise “questionable” tactics to get their shot. To them the shot is all. The Statement is secondary. For Sienna’s part, I equally have very little sympathy. She is in her chosen profession. She years publicity. A more important part of this the point: “If the person in the photograph is in obvious distress or danger, should the photographer put down the camera? Are there circumstances in which the photographer should provide help or assistance? If the photograph is taken, after all these considerations, who will see it? How will its future dissemination affect the people in the photograph?” Example: I was covering a food festival, taking panoramic shots from across the street. With my camera still up, I panned right and left, and saw a drama unfold (See Picture). My camera is always on motordrive, so firing two or three shots per second is nothing. As soon as I processed the incident, the camera dropped and I ran to help. Immediate Action comes before sensationalism. After first aid was given, and Ambulances called, and I was sure no threat to life existed, I engaged Cathleen and spent the next hour and a half talking with her, before asking her permission to take her photograph. For me, there was no judgment call to make. The photograph is almost an accident. If I hadn’t got this image, I wouldn’t have cried in my milk. In a more serious incident, my ethical stand would be similar. I’ve deliberately NOT published images that involve serious injuries in motorsports, and if I’m able to do so, and if I'm needed to help, I WILL get involved in the incident. I have been in many life-threatening situations, both in a situation where my life is at stake, and where others lives were. From these experiences, I perhaps see things with more clarity than some people who sensationalise issues.
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And a paid gig for a BMX Bike company. 18 Different models. 2 "poses" per bike, then some "abstract shots" for their website. £200. Literally, crazy moment. Was delivering groceries to the local mental health hospital, when I bumped into a pizza delivery guy. Turns out he was a local barber, and when he heard I was a photographer, he asked if I could do some publicity shots... Results: So, did an "Open Day" for the public to come in and have their portraits done. The aim of it was to:
Had several people come in, and it was generally good. Nice little lecture by the above, about their publication, "Coverless".
Although mainly aimed at getting FE's into HE, it had some interesting points about social media, "getting out there" and other points. A couple of MUA's from Knightstone got in touch.... Here's the results. Some experimentation... Example of a mood board I made for my "Light: The Language of Photography" Project.  The sub-headings, and links to the relevant blog are:
Document visits to Locations Enter a competition doug-stevens.weebly.com/journal/developing-professional-practice-entering-competitions Create a Mood Board doug-stevens.weebly.com/journal/developing-professional-practice-mood-board Document Sam Brook's lecture on his work in the music Industry Document Visiting Lecturers Reflection From an earlier post, I entered some of Helen's images into a portrait contest. Part of the entry was a critique... First, the images... THE REVIEW READS:
Dear Douglas, Thanks so much for sharing your work with me. It is wonderful to take one sitter and explore the possibilities with her. It feels like you gently allowed herself to be herself and over time, we see and gain further insight. Since these are to be seen in sequence, I can most note that we move to a direct portrait of a pretty face and personality (almost a "girl next door" look) to quite the revelation of a raven-haired, tattoed, incredibly strong woman (despite her mentioned insecurities). This revelation is the most exciting moment in the sequence and brings me much closer and deeper into her personality and features. In the sequence 8-10, I most like 8...which may come as a surprise because it is the one that is most concealing...but the mood is strong and powerful and it says a lot about who we are seeing. Number 1 also provides insight and contradiction/contrast between that smiling face and bold tattooing. And number 3 is kind of a sleeper, different than the rest...but it is the first that breaks that smiling pattern and feels bold and direct. The first improvement that I can suggest is your lighting. As mentioned, your sequence of 8-10 is great, but the edge of her tattoed arm is far too hot for me. I am going to suggest that it is trimmed in shadow rather than light. That will pop that red of the roses, deepening the connection between that color and her lipstick. 8 especially since she is in the shadow, to begin with, that light is crazy hot on her arm. The second suggestion is to give me more space around her head. You have in several instances, but the close crop need not be repeated as often as you do. I would like to see more diversity in your approach. Douglas, not sure if you will continue with her, but I think there are some additional great possibilities to explore. Good luck! Additional RecommendationsPhotographers (portrait & commercial)Photo Competitions (portrait & commercial) |
Well. Here goes. Nothing ventured, nothing gained.
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