2 Horror Photographers: Compare and Contrast

Blog Written by Pheonix Boone

  When it comes to genres that I am fascinated by, horror is the first thing that comes to mind. I’ve always appreciated horror elements in a lot of media. Horror has always had great mystery and creative elements implemented with it. Movies, books, video games, tv shows, and photographs can express horror in such a creative unique way. Photographing horror isn’t always the first thing that comes to mind when someone starts shooting photos as a hobby or career, but there are a few people out there that specialize in it. This blog focuses on two horror photographers, and how they are so alike yet so different. The two photographers that are going to be discussed is Joshua Hoffine and Clinton Lofthouse.

Photo by Joshua Hoffine              Photo by Clinton Lofthouse                        

The two photographers are alike in many ways. The most obvious similarities are the themes that are presented in their photos which are horror. The two examples show their takes on taking photos with horror elements. Both are very talented with their use of colors, and their focus on their subjects. Each photo that both photographers take shows great attention to detail to the main subject in focus, like the details of the makeup and elements surrounding the subject and so on.

Photo by Clinton Lofthouse              Photo by Clinton Lofthouse         

Now while Clinton Lofthouse and Joshua Hoffine focus strictly on horror in their photographs, they both focus on different elements in their photographs. Clinton has a focus on character portraits. In most of his photographs, it’s just a main focus on whatever the subject is in the photo. The example on the left shows an edited photo with practical effects of a woman that’s looks like she just came out of hell. With the photo just having a main focus on the character with minimal detail in the background. Same goes for the image on the right. You can see a huge focus on just the subject with minimal detail in the background. You can make out the smallest details on the subject’s outfit.

Photo by Joshua Hoffine              Photo by Joshua Hoffine

Now with Joshua Hoffine, you can see a huge difference in what elements he focuses on the most. Joshua emphasizes the use of backgrounds mixed with the subjects. He uses more practical effects to add more character to his photos. One practical effect I notice was the use of smoke in his photos. Also, his use of light is very unique and creates a great atmosphere in his photos. The one thing I notice as well when viewing Joshua Hoffine’s photos is they are set up like a cinematic picture. His photos look like still shots from upcoming horror films.

Photo by Clinton Lofthouse             Photo by Joshua Hoffine

Overall, Joshua Hoffine and Clinton Lofthouse show great detail when it comes to photographing horror elements in their photos. While yes, they both have different focuses on what they want in their images with Joshua showing more focus to the whole scene in his photos, and Clinton showing more focus on the main subject. There is no doubt that both of them are very talented when it comes to the horror genre.

Sources

Photos From Clinton Lofthouse: https://www.clintonclofthouse.com/

Photos From Joshua Hoffine: https://www.joshuahoffine.com/

Compare & Contrast Two Photographers

By: Owen Hopkins

I compared and contrasted the two documentary photographers, Walker Evans and Jacob Riis. Evans was an American photographer and his work focused primarily on documentary photography and photojournalism and captured many important events during the Great Depression, and had many special talents when it came to photography and that even got him a job in the government.

Walker Evans, profile, hand up to face, 1937 | Walker Evans

He is best known for his work for the FSA when he documented the effects of the Great Depression on farms across the U.S. His travels included capturing daily life across the country, from dense cityscapes and all kinds of stores, restaurants in New York City to the rural towns in the southern states. Evans pioneered the documentary industry and his work influenced major photographers across the world.

A family on their porch during the Great Depression in the United States | Walker Evans

Evans really moved into capturing how people live and enjoy their lives. After being in Paris for a year learning French and writing short stories and nonfiction essays, he returned to New York in 1928 with the intent on becoming a writer. However, he was also becoming proficient with the camera and gradually redirected himself into photography. He started to move away from the highly aestheticized style and developed his own evocative but more reticent notions of the real world, and began focusing on the ordinary subjects in the world.

Couple at Coney Island, New York | Walker Evans

Evans was especially busy during the Great Depression as he accepted a job from the U.S. Department of the Interior to photograph a government built resettlement community of unemployed coal miners in West Virginia. He decided to make his job into a full time position as an information specialist in the FSA, and Department of Agriculture. He worked with other well-known photographers such as Dorothea Lange, Arthur Rothstein, and Russell Lee. They were assigned to document small town life and demonstrate how the federal government was attempting to improve small communities during the Depression.

Barber Shops, Vicksburg, Mississippi | Walker Evans

Jacob Riis was a social reformer, a muckraking journalist and social documentary photographer. He contributed significantly to the cause of urban reform in America. He is well known for his photographic and photojournalistic talents, especially in New York City. Most of his subjects included the impoverished New Yorkers and he embraced the idea of model tenements in New York.

Jacob Riis in 1906

While working as a police reporter for the New York Tribune, he did a series of exposes on slum conditions on the Lower East Side of Manhattan, which allowed him to view photography as a way of communicating the need for slum reform to the public. He shared his photographs with the public and made articles, which made a significant impact, including the establishment of the Tenement House Commission in 1884.

Five Cents a Spot | Jacob A. Riis, Museum of the City of New York

In 1888, Riis started working for the Evening Sun, where he began making the photographs that would be reproduced as engravings and halftones in How the Other Half Lives, and he celebrated his work documenting the living conditions of the poor, which was published widespread in 1890.

“Knee-pants” at forty five cents a dozen—A Ludlow Street Sweater’s Shop | Jacob Riis

Riis was among one of the first photographers in the U.S. to conceive of photographic images as instruments for social change and he was among one of the first to use flash powder to photograph interior views and his book How the Other Half Lives was one to employ halftone reproduction successfully.

In the tenements entire families would live in one room. Sometimes more than one | by Jacob Riis

Sources:

https://www.all-about-photo.com/photographers/documentary-photographers.php

https://www.metmuseum.org/toah/hd/evan/hd_evan.htm

https://www.barnebys.com/blog/walker-evans-documenting-the-great-depression

https://www.icp.org/browse/archive/constituents/jacob-riis?all/all/all/all/0

https://www.samys.com/b/JACOB-RIIS:-Lighting-Up-The-Slums-With-Flash-Photography/5389.html

https://petapixel.com/2016/06/21/hear-walker-evans-reflect-great-depression-photos/

https://www.nytimes.com/2015/10/23/arts/design/jacob-riis-photographs-still-revealing-new-yorks-other-half.html

Comparing and Contrasting: Alex Webb and David Alan Harvey

Cassondra Seal

Explore street photography through the distinct perspectives of photographers David Alan Harvey and Alex Webb. Harvey captures raw human connections and emotions, while Webb’s work balances chaos and harmony with intricate compositions. Their unique styles bring urban scenes to life, inviting viewers to experience the complexity of city life through their work. So read along with me as we wander the streets, through the lenses of Harvey and Webb, and discover the beauty, complexity, and endless stories that await around every corner.

Alex Webb’s street photography skillfully portrays the intricate nature of city life. We see this through the essence of stirring human emotions captured by a camera. His style is marked by compelling elements, prompting viewers to dive deeper into visually captivating scenes and read into the stories behind them. Webb’s photographs capture lively streets and colorful scenes, providing the viewers with a wave of feelings, emotions and fascination through light and shade.

Flying Squirrels Community Center, Corn Hill, 2013 © Alex Webb | Magnum Photos

Beyond the surface, his images unveil instances of silent bonds and real human experiences. This gives the viewer a sense of connection to those in urban living. Webb’s artworks encourage viewers to appreciate the beauty and complexities of the surrounding world.

St. Patrick’s Day, East End, 2013 © Alex Webb | Magnum Photos

Alex Webb uses key techniques in his street photography to establish his unique style. He is known for his bold and vibrant color usage. Webb captures scenes with a wide range of colors which in return intensify the visuals in his photos. Through his expert color handling, he creates art that allows viewers to immerse themselves into the scene.

USA. Brooklyn, NY. 2018. Park Slope. © Alex Webb | Magnum Photos

He pays careful attention to his composition and framing. By skillfully arranging the elements within his work, he crafts elaborate scenes that encourage viewers to explore the image thoroughly. Light and shadow are pivotal in Webb’s work. They contribute to adding depth, texture, and even drama to his photos which makes his pieces so emotional and captivating.

Dance Hall, Lake Ontario, 2013 © Alex Webb | Magnum Photos

David Alan Harvey uses various techniques in his street photography to capture genuine human connections and emotions. Known for establishing close bonds with his subjects, Harvey excels in capturing candid and authentic moments. By engaging with individuals on a personal level and earning their trust, he is able to document real emotions and interactions.

A woman in Tangier Island, Virginia displays fresh-baked rolls in this 1973 National Geographic photo. PHOTOGRAPH BY DAVID ALAN HARVEY

Harvey meticulously composes his shots to tell a story or evoke a specific mood. He uses elements like framing and perspective to constructs visually captivating scenes to immerse viewers.

To celebrate the end of the school year in the late 1980s, a group of friends in Paris take a cruise down the Seine River at twilight. PHOTOGRAPH BY DAVID ALAN HARVEY

Similar to Alex Webb, Harvey plays with light and shadow to introduce depth and drama to his photos. He actively seeks out intriguing lighting situations, such as strong shadows or the golden hour, to enrich the ambiance and tone of his pictures.

During a schoolyard football game in Tokyo, Japan, a goalie jumps and extends his arms to try and prevent the ball from hitting a cement wall. PHOTOGRAPH BY DAVID ALAN HARVEY

Harvey’s portfolio often reflects spontaneous instances from daily life. His ability to predict crucial moments and swiftly capture them results in images that feel genuine and dynamic. Focusing on human emotion and gesture, Harvey’s work encapsulates vulnerable, joyful, and connected moments that deeply resonate with viewers.

A boy practices his soccer skills along a street in Tegucigalpa, Honduras. The popularity of football has led to the development of many variations of the game, including street and freestyle soccer. PHOTOGRAPH BY DAVID ALAN HARVEY

Overall, both Alex Webb and David Alan Harvey’s street photography techniques revolve around forming personal connections with subjects, clever arrangement through composition, paying careful attention to color and lighting, and seizing genuine instances of human emotion and interaction. Through their art, they invite their audiences to perceive the world through a different perspective, connecting with the beautiful and intricate nature of everyday life that is often overlooked.

References

Magnum Photos. Alex Webb. https://www.magnumphotos.com/theory-and-practice/brooklyn-the-city-within-alex-webb-rebecca-norris-webb-new-york-street-photography/

National Geographic. David Alan Harvey. https://www.nationalgeographic.co.uk/photographer/david-alan-harvey

Robert Koch Gallery. Alex Webb. https://kochgallery.com/artists/alex-webb/?cn-reloaded=1

Compare and Contrasting Photographers

Jacob Nusz

  The two photographers that I will be comparing and contrasting is Henri Cartier-Bresson and Linda Wisdom and not are they both just great photographers but have some similar work on the way that they take photos. The photos that they both have really tell a story and is what made them so famous for their work.

  First, let’s look at what the general topic of both of the photos. When you look at both you see that they take most of their photos in black and white and that one main thing that you can compare both of these too. Not many people taken photos in black and white so for both of them doing this makes them so similar when it comes for both of them taking photos.

Photo by: Linda Wisdom

  

Photo by: Henri Cartier- Bresson

  Another similarity could be just the story the photos take. Every photo needs to have a story and both of these photographers really show that with the photos that they take it can really mean something. With both of the photographers using black and white that itself will give every photo a story and a meaning. You can look at both of these examples by Henri Cartier-Bresson and Linda Wisdom and really imagine the story behind the photo.

Photo by: Henri Cartier- Bresson

Photo by: Linda Wisdom

  The last similarity could be that they always have a subject in the photos and mostly that subject will be more likely a person. When they add a person to the photo it again really adds a story to a photo. So, both of these photographers really are able to use subjects, and colors which really make these photos amazing and makes Henri Cartier-Bresson and Linda Wisdom very experienced and really good photographers.

Photo by: Linda Wisdom

Photo by: Henri Cartier-Bresson

  Now looking at the differences between Henri Cartier-Bresson and Linda Wisdom are the differences are the time periods that they both take these photos. with the time periods you can tell how they are different. You can tell how the people look or what the subjects look like. The time period can also have a big effect on the photo. The scenery that the photo was taken at can also change the whole aspect of the photo. The scenery can change over time which can really make both of the photographers different with their work.

Photo by: Henri Cartier-Bresson

Photo By: Linda Wisdom

  So overall you can really see what the similarities and the differences between both of these photographers. Henri Cartier-Bresson and Linda Wisdom are just such great photographers and can just really make their photos look really well. Both of them can really just make a story with their photos which is why they are such great photographers and how both of their work can relate and can be completely different.

References

London Street Photography Linda Wisdom,. London Street Photography https://www.lindawisdomphotography.com

Magnum Photos. (2020, November 19). Henri Cartier-Bresson,. Magnum photos. https://www.magnumphotos.com/photographer/henri-cartier-bresson/

Street Photography: Jill Freedman and Daido Moriyama

By: Connor Maestas

(Top) Tokyo, 1969. Daido Moriyama            (Bottom) Harlem, New York City circa 1970. Jill Freedman
Street photography in its essence means a candid photo of humanity (Maher, 2022). Street photography captures a real moment. The hard part as a photographer is being reactive enough to capture it and determining whether that snapshot tells the story the photographer wants it to tell. Street photography is particularly tough since the line between a beautiful, storytelling image and just a random picture is very thin. The two photographers I chose for this assignment are Daido Moriyama, and Jill Freedman. Both photographers were masters of taking meaningful, candid photos, and were successful in expressing emotions through their photographs.

Daido Moriyama is a Japanese photographer who is known for capturing candid street photos during the 60s and 70s that challenged the social norms of this type of photography. Moriyama is shy, inconspicuous, and concentrated as a person, but being how smart and articulate he is, he expresses emotion in his photographs in elegant, and metaphoric ways (Jansen, 2023). Photojournalism was Moriyama’s dream since childhood so he followed his sensei– Shomei Tomatsu who was also a prominent Japanese photographer. Daido Moriyama clearly had a mission when he began taking photos, Photograph the world not as it was but how he saw it– a confused, chaotic, and fragmented reality (Jansen, 2023). Moriyama specialized in photographing people post-war which has led to his work being regarded as lyrical, symbolic expressions of post-war Japan (Jansen, 2023). Moriyama’s photos quickly became a testament of a tumultuous time throughout Japan, conveying the grim and gritty reality of the underbelly of the city through grainy images (Jansen, 2023).

(Top) Stray Dog, Misawa, Japan 1971. Daido Moriyama  (Bottom) Accident, Tokyo, Japan 1969. Daido  Moriyama

Jill Freedman was a New York City born photographer who captures beautiful moments all around the world including London, New York, Washington DC and more throughout the mid to late 20th century (Cuenin, 2023). She has written seven photography books that catapult the audience into the daily life of the common person in a closed society in the aforementioned cities. Freedman has always had a preference for the inaccessible, and for inserting herself into situations she may know nothing about leading to pure curiosity and honesty in her images (Cuenin, 2023). Capturing things that seem unnatural or ‘freaky’ was something she was passionate about. Freedman captured every emotion through her photos, no matter how negative those emotions were.

(Top) Resurrection City, Washington DC, 1968 Jill Freedman  (Bottom) Circus Days, 1971. Jill Freedman

The main difference between Moriyama and Freedman is really just location. The former hails from Japan and the latter hails from New York City and photographs all over North America and Europe. These different locations allow for different stories to be told, even though they tend to capture photos very similarly. Freedman seems a little bit more confrontational leading to more photos of people and their emotions, while Moriyama photographs certain situations using the people in the photograph to further explain the circumstances. These photographers will not only capture sadness and negative emotion, but will capture candid photos of content individuals as well (see below images). Both Moriyama and Freedman are street photographers with an eye for detail and emotion, leading to photographs that clearly tell a story, even if they are on opposite sides of the globe.

(Top) Kanagawa, Japan, 1967. Daido Moriyama (Bottom) Catholic girls’ school, London, 1969. Jill Freedman

By: Connor Maestas

References:
Cuénin, J. (2023, October 30). The many lives of Jill Freedman. Blind Magazine. https://www.blind-magazine.com/news/the-many-lives-of-jill-freedman/

Jansen, C. (2023, October 9). Sizzling hunks, street smash-ups and Kabuki Rebels: The dazzling photography of Daidō Moriyama. The Guardian. https://www.theguardian.com/artanddesign/2023/oct/09/interview-daido-moriyama-photographers-gallery-london-retrospective

Maher, J. (2022, May 15). Street photography: A complete guide for beginner to advanced. New York Photography, Prints, Portraits, Events, Workshops. https://jamesmaherphotography.com/street_photography/what-is-street-photography/

Two Unique Photojournalists

For my photographers I choose two of a more famous named photojournalists Don McCullin and Arthur Fellig (also known as Weegee). Don McCullin and Weegee, are both renowned photographers who have made significant contributions to the field of photojournalism. Despite working in different eras and focusing on different subject matter, both photographers have left an indelible mark on the world of photography with their distinctive styles and powerful imagery. McCullin was a British photographer who focused more on themes of war, human suffrage, with raw authenticity. His black-and-white photographs are marked by their haunting beauty and profound emotional impact, drawing viewers into the lives of his subjects and forcing them to confront uncomfortable truths about the world we live in.

Berlin, 1961, “Checkpoint Charlie” by Don McCullin.

Vietnam, 1969, “On a hill in Da Nang a priest hears soldiers’ confessions” by Don McCullin

Both of these photographs are unique in the fact, these are real experiences, raw footage. I like how for McCullin’s shots capture the moment, soldier waiting at a checkpoint while civilians carry on with everyday life. Or how the soldiers in Vietnam confess and pray with a priest during a time in the war. It is beautiful yet unsettling, knowing these men’s lives could have been taken that very day and no one would’ve seen these moments they experienced. While these photos are inspiring it’s also worth remember the photographer that went through the very same things too. McCullin was a survivor of the second world war and was called into the RAF in England. As he traveled to different countries he was equipment with a camera and his photographer skill were more of an accident than planned.

Lebanon, 2008, “The Temple of Jupiter, Baalbek” by Don McCullin.

Caledonian Road, Islington, London in the 1960s, “Boys boxing” by Don McCullin.

Even something simple as shots of street or a fallen temple are amazingly captured. The way both scenery and story are told through the shot are incredible to me. Both are completely different in context, but that is what makes it unique. It makes a person look and think about what happened to lead up to that point. How a great temple once fell and now gather sand and slowly crumbles. Or how a group of boys started boxing with gloves and if they maybe one day became a well-known boxer. All of McCullin shots both document and give a story in the moment and that is what makes photography special.

As for Weegee’s work, it is known for being different and unique. Weegee was only 14 when he started taking pictures during his time as a boy in Ukraine. It was in 1918 in Manhattan when he started working in a studio, which is what started his success and career.

New York, February 17, 1943 by Weegee.

“Celebration for return of kidnapped boy Jimmy Di Maggio”, Lower East Side, New York, 1943 by Weegee.

Many shots are documentation of New York life, many show emotion an harsh reality of city life. Weegee’s pictures capture the heart and realistic aspect of life in New York. Personally, I like these pictures, their real and tell an interesting story. Weegee’s journaling in photos make street photography truly stand out, it combines photojournalism and street shots together to give an unique atmosphere. While many of his photos showcase life in New York and people, Weegee also uses humor and creativity with lots of his work.

M Monroe, 1960 by Weegee.

Lyndon Baines Johnson,by Weegee.

There are imagines were fun and distortion become another big source of well known Pop art. I like how these images are used not in a mean sense, rather a fun way to take a photo and put a creative twist on it. Taking something normal and using it to make people laugh and smile is always interesting to see. It also makes the photographer stand out, in Weegee’s case his distortion took off and many loved it. The picture of Marilyn Monroe made her good friends with Weegee, with other photos of distortion to surface and become more well-known throughout photojournalism.

To me, both photographers have a unique and real sense of the moment. Both McCullin and Weegee use their talents to show the harsh reality of people, war, and city life. With these photos there also is beauty and a story telling aspect that stands out and makes memorable. Along with humor and fun from Weegee, both photographers were different in their takes on life and photography, but that is good. Without differences where would the uniqueness and fun be of photos? I feel both artists answer and show how photojournalism can be generalized and very different at the same time, and that is what makes it special.

Written by Andrew Daisey

References

https://www.icp.org/browse/archive/objects/lyndon-baines-johnson-distortion-39

https://www.theartstory.org/artist/weegee

Biography

Conservation Photographers: Heather Holm and Lana Tannir

By Tedi Kohinke

Conservation photography is about visual storytelling for the purpose of impacting environmental changes. Conservation photographs educate and inspire us about critical issues facing the natural world today. So, there’s more to it than just snapping a pretty pic of the outdoors: a lot of research, documentation, and future-thinking goes into each project to clearly define problems as well as possible outcomes. For this assignment, I chose to take a look at two conservation photographers: Heather Holm and Lana Tannir. Their ultimate intentions are, I think, pretty similar, while their approaches are quite different.

Heather Holm is a Minnesota-based biologist, pollinator conservationist, environmental educator, and landscape restoration project leader. She’s written four books about pollinators and speaks to the subject in lectures across the country. Her book “Wasps: Their Biology, Diversity, and Role as Beneficial Insects and Pollinators of Native Plants” (2021) changed my negative attitude toward wasps with her photographs alone! Holm uses her skills as a conservation photographer to document the relationship between certain pollinators (mainly bees, wasps, and flower-flies) and the native plants they need to survive. She uses her art and research to educate and inspire landowners to convert their lawns and land to native habitats not just for beauty, but for “ecosystem functionality.” Planting native plants and trees ensures that some of the smallest, yet most critical, links in the food chain survive and even thrive.

Based in Munich, Germany, Lana Tannir is a biologist, science storyteller, and conservation photographer. I might go so far as to call her a conservation photojournalist. Tannir’s visual stories reveal environmental issues and solutions on an international level, though her content tends to be focused on Arctic regions and eco-friendly tourism. I was especially moved by her piece, “Nesting in Plastic” (2020), revealing an issue in Heligoland, where gannets were found nesting in thousands of pounds of plastic waste on the German island. Tannir is published in several magazines, like National Geographic, and is an extensive blogger. She doesn’t just write about the environment; she also writes extensively about her craft as a conservation photographer. She uses her art to inspire activists and artists alike.

I think that the differences between Heather Holm and Lana Tannir boil down to scale and location. Holm’s work focuses on some of the smallest working parts of the ecosystem. I see her as a “macro lens conservation photographer,” zooming in on insects and their flowers to demonstrate that these critical relationships might be small in stature, but huge in impact. I feel that Holm could be thought of as a grassroots conservationist, working intensely on small, local projects, and her photography reflects her work perfectly.

I see Tannir as more of a “telephoto lens conservation photographer.” Her work places the viewer into a (sometimes massive) landscape. Tannir’s photography seems to be exploring the relationships people have with the environment, focusing fairly equally on both positive and negative impacts humans have (or could have) on multiple ecosystems internationally. In her photography, I see Tannir as a global conservationist working to tackle large-scale projects involving many countries, if not the world.

Holm and Tannir have, I think, similar outcomes in mind as conservation photographers: education, inspiration, and conservation of the environment. They also aim to build passionate communities surrounding their subjects, whether on a small or large scale, and that is reflected in their individual approaches to their art.

Photos of insects are copyrighted to Heather Holm; landscapes and gannet copyright Lana Tannir

Sources:

Gardeninacity. (2018, October 22). Gardening for Native Bees: Interview with Heather Holm. Gardeninacity. https://gardeninacity.com/2018/10/22/gardening-for-native-bees-interview-with-heather-holm/

Holm, H. (2023). BEE AND POLLINATOR BOOKS BY HEATHER HOLM. Goodreads? https://www.pollinatorsnativeplants.com/about-the-author.html

Holm, H. (2024). Pollinator Photos by Heather Holm. Heather Holm. http://www.pollinatorsnativeplants.com/

Tannir, L. (2020). About. Lana Tannir. https://lana-tannir.com/about/

Tannir, L. (2020). Nesting in Plastic. Lana Tannir. https://lana-tannir.com/nesting-in-plastic/

Compare & Contrast: Documentary Photographers

by Koda Curran

Documentary photography refers to a photo that attempts to tell a story about the reality of the world. These photos are important to document contemporary life and maybe even be a part of historical records. I will be looking over the works of photographers Allen Frame and Ross McDonell, and compare and contrast their creative differences and similarities.

Paola, Cuernavaca by Allen Frame.

Allen Frame is a photographer and writer represented by Gitterman Gallery. He had three solo exhibitions and won the 2017/2018 Rome Prize from the American Academy in Rome. He’s also helped to write three feature films: Four, Going Home, and Mateo’s Tattoo. He now teaches at Pratt Institute (MFA) and the School of Visual Arts (BFA) and the International Center of Photography in New York (Frame, n.d.).

Sebastian, Buenos Aires by Allen Frame.

Allen Frame‘s photography style has a sense of loneliness to it, insinuated by the recurring theme of single subjects used. There is even isolation to be found in photos including more than one subject, for example, Frame’s Oaxaca (see below). The main subject, a boy in the water, is far from his family and only watches as they proceed without him. The giant landscape around them only elevates the feeling of isolation, making them seem small compared to the rest of the world.

Oaxaca by Allen Frame.

Hillary and Josh, Punta del Este, Uruguay by Allen Frame.

Ross McDonnell is a filmmaker and photographer born in Dublin, Ireland. His love of travel and film inspired his journey into documentary photography, as he is interested in telling non-fictional stories about the world. His debut feature film Colony was featured in the Toronto International Film Festival and won two awards. He has continued his work in photography, and has held the roles of Director, Cinematographer, and Producer. He was nominated for an Emmy in 2018 for his directing work in CNN’s Elián.

From the Joyrider series by Ross McDonnell.

From the Joyrider series by Ross McDonnell.

Ross McDonnell‘s photography style is dark and gritty, but very real. His collection Joyrider tells a coming of age story showing life on the ‘block’. He explores how the marginalized youth reclaim the spaces around them, with themes of creation and destruction, community and isolation, and finding one’s identity in an urban environment (Photo Museum Ireland, 2021). He takes a lot of photos about the harsh realities of the world, and doesn’t try to sugarcoat things.

How Afghans Have Adapted to Life After Losing a Limb by Ross McDonnell.

How Afghans Have Adapted to Life After Losing a Limb by Ross McDonnell.

When comparing the two documentary photographers, I found they have very different styles. Allen Frame explores themes of isolation, even when you are not alone, and Ross McDonnell explores the harsh reality of marginalized groups. I feel like Frame is more subtle in his work, while McDonnell is more in your face. Though, they are both similar in the way they tackle the feeling of loneliness within your community, they just approach it in different ways. I think I prefer McDonnell’s work, as it makes me feel more emotion. I admire the way he is able to humanize all of his subjects, even those who may be demonized by modern media.

References.

Frame, A. (n.d.) Allen Frame. Photography. https://www.allenframe.net/2006-2011

McDonnell, R. (n.d.) Ross McDonnell. https://rossmcdonnell.com

Photo Museum Ireland. (2021) Ross McDonell – Joyrider phonebook talk & launch. https://photomuseumireland.ie/ross-mcdonnell-joyrider-launch

Hannah Gooss – Comparing Two Street Photographers

Austin, Texas (1974) by Garry Winogrand

New York (1961) by Garry Winogrand

The two street photographers that I chose to compare and contrast are Garry Winogrand and William Klein. Street photography as a whole is, to me, a means of viewing the world as it is through your own eyes. Garry Winogrand’s work exemplifies street photography in this way with his simple motto, “I photograph to see what the world looks like in photographs.” Just like in this seemingly simple photograph of football players on a field, there’s something about the angle and composition that makes it interesting. The same goes for this photo of the man petting a dog. There’s something so compelling about what should be mundane sceneries.

Castle Rock, Colorado (1960) by Garry Winogrand

Utah (1964) by Garry Winogrand

            Similarly, I think William Klein’s work presents the seen world from a different view. Especially in the photo with the Eiffel Tower with its distorted perception of height. William Klein enjoyed to photograph in a method of grainy, vividly black-and-white images in a way that was very dated even for his time. He photographs the world with the talent of making it seem almost ethereal in a sense. The striking contrast gives his work a glowing aspect that emphasizes the subjects.

For Stern, Shoe and Eiffel Tower (A), Paris, France (2004) by William Klein

Man under El, New York (1955) by William Klein

            My favorites of the photographs that I have chosen by both Garry Winogrand and William Klein would have to be the New York street scene in 1961 of Garry Winogrand’s and the Man under El from 1855 by William Klein. The Man under El reminds me of Superman with the shining sunlight and the man seeming to disappear as he’s running. In Garry Winogrand’s photo, I like how the scene of the man petting the dog is not as cluttered as you would think it would be for a busy street in New York.

Hat + 5 Roses, Paris (Vogue) (1956) by William Klein

In my opinion, Garry Winogrand’s work in street photography is very simple, but compelling at the same time. Conversely, William Klein’s work in street photography is very bizarre, but still grounded in reality. Their different perceptions of the world show their dissimilarity as photographers. I’m certain their individual backgrounds led to these distinct perspectives, as well. William Klein was in the Army and he also studied art. Similarly, Garry Winogrand was in the military as a weather forecaster and then he went on to study photography. In conclusion, street photography personifies the world through the eyes of the beholder. The world may appear to look the same everywhere, but how we as people view it changes from person to person. One may perceive something and another may see something else entirely. To me, street photography is not just about documenting public scenes as they appear, but rather how each photographer views the natural, seen world in their own unique ways. Street photographers present the world as they see it in a compelling way, no matter who they are, whether it’s in a straightforward manner or bizarre and confusing. From what I’ve seen, Garry Winogrand presents the world exactly as it would be seen in his photographers, whereas William Klein shows the same world but from a different angle. This is precisely what photography is as a whole, as well.

E-Type Jaguar on Newly, Opened M1 Motorway (2008) by William Klein

The Future of Photography

By: Owen Hopkins

Immersive photography can include 3D images that can now be created with smartphones, 360-degree cameral technology is now being used, and Virtual Reality or VR is becoming more and more popular. Immersive photography will include innovations like we’ve never seen before, and better technology.

https://onefly.com.mx (unknown author, unknown date)

https://www.technologynetworks.com/informatics/news/virtual-sanity-people-who-use-vr-headsets-enjoying-life-more-during-lockdown-346281 (By: Holly Atkinson, Sept 3 2021)

AI can change the look and the function of a camera by learning from your behavior and memorize how you edit your photos and can make photography quicker and easier. You can still edit images with a camera, but AI can assist you. The editing capabilities that AI can have is autofocus, image stabilization systems, and automatic exposure.

https://www.analyticsinsight.net/best-ai-image-generator-for-free-of-2023 (Industry trends, April 26 2023)

Smartphones in a way have pushed compact cameras out of the market because smartphone technology has been improved a lot over the years, and it’s practically always with you when you carry it around. For example the latest phones are capable of near-professional level image quality and fitness gurus and influencers can run their businesses from their phones.

Printed and displayed images in the future will have more quality which makes a photo more characteristic and it will become more accurate and include specific improvements and they will feel more realistic. They will be used by photographers, graphic designers, and other people that can experiment with cameras and their technology.

https://www.repsol.com/en/energy-and-the-future/technology-and-innovation/piezoelectricity/index.cshtml (author unknown, Nov 9 2023)

https://cciconsulting.com/top-four-trends-in-hiring-executive-talent-entering-2024 (Jeff Harvey, unknown date)