This weekly post has everything you need for completing this week’s self-paced content and readings, plus an outline at the end for what’s covered during class meetings. This week we’re looking at war photography \u2014 its impact on how people view conflict and also its impact on the photographers who choose this work. <\/p>\n
The reading and videos this include numerous images that are difficult to look at. I’ve intentionally selected videos that have meaningful interviews, so you can listen without viewing all the related images if you find it difficult to watch.<\/p>\n
Photographs of war date back to the Crimean War and, more notably in U.S. history, the Civil War in the mid-1800s. At the time, long exposure times meant photos could show the aftermath of battles or soldiers posing in camp, but could not show action. Photographs were not widely seen during World War I, partially because of strict media policies and partially because of bulky camera technology. That all changed by the time World War II became a dominant news story around the world. From Photojournalism and Today’s News<\/em><\/a> by Loup Langton:<\/p>\n \nAll of the advances made in photojournalism during the 1920s and 1930s were put to use as world war became inevitable. And, the circulations of picture magazines like Life and Look increased dramatically while readers followed World War II\u2019s destruction, heroism, and tragedy through the magazines\u2019 photographs. The 35 mm cameras allowed for a spontaneity and sense of immediacy that had not been present in war photography before this time.\n<\/p><\/blockquote>\n War and conflict continued for the rest of the 20th Century in various parts of the world, and the Vietnam War was notable in U.S. history because photographers \u2014 and TV cameras \u2014 had largely unrestricted access to record and share moments from the war. This changed public opinion and led to more government restrictions in later wars.<\/p>\n Don McCullin is a British photojournalist who covered wars around the world for decades, and later in life turned to landscape photography. He led the way for career photojournalists to openly discuss the ethical dilemmas of war photography and the lasting personal toll, which is now more widely acknowledged.<\/p>\n https:\/\/youtu.be\/OVZe4rQKcls<\/p>\n Review & Reflection<\/strong><\/p>\n In this video, Lynsey Addario talks about her experiences as a conflict photographer and whether she knows if her images make a difference. <\/p>\nReflecting on a Career in War Photography<\/h3>\n
\n
Modern War Photography<\/h3>\n