Super Moon 2011

Saturday, March 19, 2011 boasted the largest moon in over 20 years. The evening marked the moon’s closest position to the earth, a phenomenon that will not occur for another two decades. 

Photo Credit: Sumit Kumar, Glasgow

Although some were entirely unaware of the infrequent event, a large amount people across the globe went to fields and clearings to witness the “super moon.”

Claire Massingham, Northolt Hills

In the spirit of our digital culture, many skywatchers were alerted of the phenomenon through Twitter, Facebook and other social media websites. In fact, Twitter was overwhelmed with tweets about the exceptionally large moon that was filing the night sky, and #supermoon earned a spot as the top trend for the evening. 

Martin Thorne, Canary Islands

Twitter was flooded with photos of the super moon that had been shot using stargazer’s cell phones, and multiple large news outlets opened their websites for user submissions. 

Brian Dempsey, Mudford Cay

Although some photography experts scoff at the pixelated quality of the amateur’s images, I think that the amateur photographer’s work should be appreciated. Not only does it allow us to see the phenomenal super moon from countless different perspectives across the world, but it also is unifying in a way. Instead of professional photographers publishing their perfected photographs, we see the moon as it was viewed by the thousands of astronomy enthusiasts who took to the skies armed with their iPhones and a Twitter account, ready to share the beauty of the super moon with the world.

Ali Napier for BBC

Financing Photojournalism

[Photo Credit: Tomas Van Houtvyre] 

Despite my strong belief that photojournalism should be a passion rather than a profession, many photographers who are passionate about photojournalism rely on their  art to pay their bills. For these photographers, the economic downturn of 2005 drastically changed the way that they fulfilled assignments. 

Prior to the economic collapse, publications would send out photographers to pre-determined locations with a topic. The photographer was expected to return with a slew of shots that met the strict parameters set by their editors. While this process allowed photojournalists to have a steady income, they were often assigned topics that were not interesting to them.

Like most industries, the economic downturn altered the processes by which photojournalists and publications work together. Today, photojournalists work more like authors. Photographers fund their own trips, tell their own stories through photographs, and pitch the project to a publication only after it has been completed. Well-known photographers can pitch ideas to magazines for a pre-approval and are occassionally provided with a travel advance. However, the majority of photojournalists begin projects using personal funding.

Of course, news outlets still send photographers to cover events. For example, the recent tsunamis in Japan are being covered by photojournalists who have been sent out by their employers. However, a large number of independent photojournalists are getting on flights to Japan to cover the event as well. While the corporate photojournalists are required to get specific images, the independent photojournalist will be able to venture down whichever avenue they choose. 

To aid photographers, websites such as Kickstarter promote the funding of independent projects. Photographers can post ideas of photoshoots, locations and stories to gain monetary support from fellow photographers and photography buffs.

Some believe that the shift has made it difficult for beginning photojournalists to find success. However, the change allows photographers to choose only what interests them. I believe that when a photographer is passionate about a subject, he is able to fully illustrate the story through powerful photography. 

[Photo Credit: Sarah Elliot]

This change should provide publications with more emotional, powerful photographs of subjects that journalists are passionate about instead of a basic headshot to accompany a story.

Emotion: Defined Through Photography

To define a word, we often look to sources such as the dictionary. However, I believe that some words, specifically emotions, can be defined better through images rather than words. In America, our droughts are defined by restrictions on when we can water our little patch of grass in suburbia. Housewives complain that their pansies are wilting and we say that the ground is thirsty. 

[James Whitelow Delano]

This African man is searching the desolate landscape around him for even a small puddle of water to gather. He is desperate to provide his family with one of life’s most essential elements-- water-- he truly is thirsty.

Now what about the definition of mercy? Is it a compassion or forbearance shown especially to an offender or is it a blessing that is an act of divine favor or compassion? Or is it best defined this picture of an old Russian woman who watched as her sons were taken away from her?

[Andy Rain]

And finally, do we define praise as the expression of a favorable judgment, the glorification of a saint or an expression of approval? To this group of young people at a religious gathering in Manila, Philippines, praise cannot even be described through words. With arms outstretched and tears streaming down their faces, it is evident that their emotions can not be described through words.

[James Whitelow Delano]

Some say that photojournalism is dead. Mr. Banks, the owner of extremely successful Luceo Photography believes that “it is absolutely ridiculous to say that photojournalism is dead.”  Photographers from Banks’ company took the above photographs which were published in a book on emotional photography last month. The incredible success of Luceo is evidence to the continued need for photography in journalism.

Those who say that photojournalism is dead should attempt to evoke the same emotion through words that these photographs provide visually. They will soon find that their words will fall flat and are insufficient to fully explain a story. Readers respond to visual cues, and photography only enhances a story. What can be said in words, can be seen through photojournalism.