Download Photograghy and its importance in era 21 and more Thesis Photogrammetry in PDF only on Docsity!
Georgia State University ScholarWorks @ Georgia State University
Art and Design Theses Ernest G. Welch School of Art and Design 5-10-
Photography: A Communication Tool
Holly B. Ballenger Georgia State University
Follow this and additional works at: http://scholarworks.gsu.edu/art_design_theses
This Thesis is brought to you for free and open access by the Ernest G. Welch School of Art and Design at ScholarWorks @ Georgia State University. Ithas been accepted for inclusion in Art and Design Theses by an authorized administrator of ScholarWorks @ Georgia State University. For moreinformation, please contact scholarworks@gsu.edu.
Recommended Citation Ballenger, Holly B., "Photography: A Communication Tool." Thesis, Georgia State University, 2014. http://scholarworks.gsu.edu/art_design_theses/
PHOTOGRAPHY: A COMMUNICATION TOOL
by Holly B. Ballenger Under the Direction of Melanie Davenport Abstract There are limited resources available for art teachers wishing to implement a photography curriculum that focus on social justice. Since the camera is a highly effective communicative tool, students should be encouraged to vocalize their understanding of how to better society through visual images. This research highlights the significance of photography and its ability to change the manner in which people view the world. The culminating product of this research is a downloadable PDF that features both contemporary and historical artists and organizations that have used photography to express social justice. The aim of this research is to promote photography to administrators, supporters, local communities, and students. Art teachers are encouraged to use the advocacy resource provided to promote social justice in their photography program.
INDEX WORDS Photography advocacy: Photography, (^) , Social justiceArt education, Visual communication, Art advocacy,
Holly B. BallengerCopyright by 2014
PHOTOGRAPHY: A COMMUNICATION TOOL
by
HOLLY B. BALLENGER
Committee Chair: Melanie Davenport Committee: Timothy Flowers Melody Milbrandt
Electronic Version Approved:
Office of Graduate Studies College of Arts and Sciences Georgia State University May 2014
v ACKNOWLEDGMENTS I would like to acknowledge my Georgia State University art professors who have spent a lifetime of dedication to the rigorous, demanding, exhilarating, and beloved art discipline. Thank you Melanie Davenport for helping initiate my further research in photography; from that first paper I wrote you saw and encouraged the passion. I appreciate the hours you spent reading my work in progress. I am also thankful for my art professors at The University of Georgia who inspired me in their kindness and opened up a new world of aesthetic possibilities. I want to acknowledge all of my colleagues at Greater Atlanta Christian School who have listened to and supported me through the demanding times. I am thankful for a place where I can teach photography to wonderful students who are equally as passionate about making images as I am. Most importantly I would like to acknowledge my Creator who is most artistic in his ability to make the world an aesthetically beautiful place filled with original people. He has given me a unique eye to see and appreciate the beauty he created and a desire to express that unexplainable joy.
TABLE OF CONTENTS
- CHAPTER ONE : Introduction ………………………………………………………………………………………... ACKNOWLEDGEMENTS …………………………………………………………..……………………………………..v
- 1.1 Purpose of the Study .….……………………….……………………………………………
- 1.2 A Contemporary and Historical Study .….…………….…………………..…………
- 1.3 Enhancing Resources .….…………….…………………………………………..………...
- 1.4 Emphasizing the Importance of Photography Education ..………...…………
- 1.5 Increasing Advocacy for Personal and Social Implications ………….……….
- 1.6 Need for the Study .….…………….………………………………………………………....
- 1.7 Meeting the Needs of Educational Standards ………………...…..………………
- 1.8 Need to Communicate and Express ………………………….………………………..
- 1.9 Need for a Variety of Photographic Processes in Social Justice …………..
- 1.10 Need to Understand the Roles of Photography Education ….………………
- 1.11 Intended Outcomes ………………..……………………………………………...……….
- 1.12 Limitations ………….……………….………………………………...……………………..
- LIST OF TERMINOLOGY …………………………………………………...…………………………………………
- CHAPTER TWO: Review of Literature ……………………………………………………………………...…
- 2.1 Who is a Photographer ...…………………………………………………………...……
- 2.2 Communication …..……………………………………………………..........................…
- 2.3. Dissemination ………………………………………………………………………….…....
- 2.4 Composition ………………………………………………………………………….………
- 2.5 Change …………………………………………………………………………………….……
- 2.6 An Everyday Tool …………………………………………………………………………..
- 2.7 Influencing Social Reform ………………………………………………….…………...
- 2.8 A Wide, Diverse Group ……………………………………………………………………
- 2.9 Photojournalism and Fine Art Photography ……………….…………………….
- 2.10 Awareness and Empowerment ………………………………….…………………….
- 12 A Powerful Tool for Active Engagement …………………….………………….…
- 2.13 An Eye for Change ………………………………………………..………………………..
- 2.14 Why We Need Photography ……………………………………….……...…………....
- 2.15 Evolving Photographic Education ……………………………….………………..…
- 2.16 Summary …………………………………………………………………………………...….
- CHAPTER THREE : Methodology ………………………………………………………………………..……..…
- CHAPTER FOUR : Results ………………………………………………………………………………………..……
- 4.1 Advocacy ……………………………………………………………………………..………..
- 4.2 Process ……………………………………………………………………………….………...
- 4.3 PhotoSensitive ………………………………………………………………………..……..
- 4.4 Critical Exposure …………………………………………………………………………...
- 4.5 John Stanmeyer ………………………………………………………………..……………
- 4.6 Marcus Bleasdale ………………………………………………………………..…………
- 4.7 Katharina Mouratidi …………………………………………………………………...…
- 4.8 Jacob Riis …………………………………………………………………………….…….….
- 4.9 Luc Delahaye …………………………………………………………….…………………..
- 4.10 Child Labor and the Global Village ………………………………………………..…
- 4.11 Lewis Hine ………………………………………………………………………………….…
- 4.12 Collective Lens ……………………………………………………………………………....
- 4.13 Proof ………………………………………………………………………………………….…
- CHAPTER FIVE : Reflections and Implications ………………………………………………………….…
- 5.1 Implications for Further Research ………………………………….…………….…
- APPENDIX A ……………………………………………………………………………..……………………………….…
- APPENDIX B …………………………………………………………………………………..………………………….…
- REFERENCES ………………………………………………………………………….....................................................
CHAPTER ONE
Introduction “Photography is my language; I only speak with my eyes. The camera is my passionate pen, light is my infinite ink, and film is my paper” (Khanfar, 2013, p. 31).
Purpose of Study Photography is a universal tool to communicate. The purpose of this study is to investigate photography’s communicative powers and discuss the need to advocate for photography as a viable artistic medium. Throughout this research I explored how photography powerfully communicates artistically that which words cannot convey. This photographic study derives its gusto from artists who have communicated leitmotifs of social justice. Although many around the world use the tool, there ought to be more advocates out there promoting the significance of photography as a valid art form. As Berger (1974) argued, “Certainly the vast majority of people do not consider photography an art, even whilst they practice, enjoy, use and value it” (cited in Trachtenberg, 1980, p. 291). While photography is widely used as a tool to communicate, there seem to be limited advocacy resources available for artists and educators in general and specifically those geared towards using photography for social change. A Contemporary and Historical Study This study focused upon photography advocacy as it examined a variety of historical and contemporary artists and organizations that have used their photographic compositions to communicate powerful messages of justice, love,
specifically tailored to photography advocacy. Nor do they provide any data indicating which advocacy tools are the most influential or popular. With regards to art advocacy, NAEA’s (2013) website did emphasize the importance of creating a network and keeping supporters, state legislators, and local communities engaged. Therefore, teachers need to stay abreast of ways to sustain a network of support for their program; showcasing the viewpoints of students and their ability to inspire change towards the betterment of society is one strong method. Emphasizing the Importance of Photography Education Many people lack the understanding of how to properly use the tools of photography to visually communicate ideas. Approaching photography with an artist’s eye differs from taking a snapshot. Anyone can capture a snapshot. The moment the tool is at the eye of an artist one begins to see and perceive the world a bit differently, but many do not understand this importance. My goal is to emphasize the significance of uniquely seeing and perceiving, which can result in effective communication. Professional photographers often say the main thing they aim to capture is the mood, and everything else is detail. Photographer Khanfar (2013) reported that through photography “we continue to find answers to questions we mostly ignore, learn the rhythms of nature and rituals of man” (p.31). There needs to be a mingling of technology and human discourse, along with values and experiences. However, this mingling cannot be achieved unless the artist understands technique and composition; hence, it ought to be taught in school and art studios. Typically a snapshot is an unplanned rough capture of light to document an experience or scene. On the other hand, a photograph shot with artistic merit
consists of a well composed, planned, and technically exposed form. The positive news is that today’s society is inundated with beneficial tools to capture images. Yet, many people are not empowered with the essential knowledge to create dynamic compositions or the familiarity required to manipulate the tools in a modus that effectively articulates their ideas. I focused on the impact of the medium because it is extensively used. People of all ages, races, genders, and ethnicities can participate in this medium. Photographers have used their images to uncover injustices in society, condemn wars, and unveil the dignity of humankind. I am attending to the issue of social change, as I believe that images communicate what is happening in society. Photography’s unique characteristics, to be elaborated on later in this research, set itself up to become society’s principal visual tool. I believe the purpose of a camera is to enable artists see the world from a different vantage point. Correspondingly, social justice involves the act of learning to see things from a different point of view. Increasing Advocacy for Personal and Social Implications Personally, photography has always fascinated me because I can create an image that speaks more to my emotions and communicates more effectively than my words could ever express. Images intrigue me. Images inspire me. Images promote critical thinking within me. I have been intrigued by these questions: What can photography do that words or other artistic mediums cannot do? How have artists used and manipulated a specific technical tool to effectively convey a meaning? While this study is not a comprehensive comparison of one medium of communication to another in any regard, it is a way to focus on the ways an artistic
their home environment. As one experiences another culture or another population different from their own, they begin to see how big the world is. It is not just about them. Rather, life is about forming relationships within local and global communities, to help others and to encourage one another on in positive methods. Those opportunities that go beyond the traditional classroom allow students the ability to contemplate justice, and perhaps they see that the world is not a fair place and that there are others in need of help and support. I would like to use the arts as a method of helping society. The benefits are four-‐fold. First, photography is therapeutic in and of itself. Second, photography helps the artist process the world in which they live, perhaps seeing the world in a new light. Third, the artwork produced from such righteous intentions has the power to eloquently and poignantly articulate justice. Fourth, this communication can yield positive change in humanity. The purpose of this study was to articulate the power that photographs can have in changing society and to emphasize the potential change that can occur when teachers equip their students with a just view of the world through the lens of their camera. Need for the Study I perceived a need for this study because there seems to be few art advocacy resources that specifically support photography-‐-‐a tool that enables poignant expression-‐-‐and how it can promote significant social change. Since the dawn of photography in the early 1800s, people have been able to see things for themselves rather than solely relying on verbal or written accounts from other people. New technological advancements that enable the artist to capture light have all merely
been a part of a broader evolution of the image as a visual communicator. I intend to create an advocacy tool that teachers can use to promote photography in their program to help students learn to see things from a new point of view. Photography is a very popular course in school when it is offered. More students ought to have the opportunity to vocalize the change they wish to see in the world through the lens of a camera. As social activist Mahatma Gandhi said, “You must be the change you want to see in the world” (Edberg, 2013). The need is for teachers to influence students’ interests and social change though images. Meeting the Needs of Educational Standards As an art educator, I think this information will be valuable in helping students discover how to successfully utilize a tool that enables their own seeing and communicating. Not only is it a tool to affect their understanding of the world but also how they might impart wisdom to others. I think that students seek momentous ways they can contribute to the world. Photography is one approach that stirs, excites and thrills them. Consequently, teachers need to advocate for its use in the classroom. Teaching social justice themes in a photography curriculum would fulfill the national visual arts standards. For example, national standard, VA1C.2, states, “Students conceive and create works of visual art that demonstrate an understanding of how the communication of their ideas relates to the media, techniques, and processes they use” (National Art Education Association, 1994, p.22). The national content standard, VA1C.4, does not mention photography specifically but it reads: “Students initiate, define, and solve challenging visual arts problems independently using intellectual skills such as analysis, synthesis, and
and perhaps even action among students. “The strength and passion people possess to tirelessly fight to build power for the many, and to challenge those who believe and advocate power for the few, can be transformational” (Grufferty, 2012). Activism implies an action. Writer and activist Grufferty (2012) explained that activism and politics go hand-‐in-‐hand. Grufferty said “in the UK, there is an ongoing debate in the student movement about whether [social change] should be achieved by way of a revolution, or by public policy change”. Students need to learn tactics for advocating like successfully engaging with power structures in politics so that a victory for greater good can be attained”. As Grufferty explained, social media and online communities are good resources: We need to develop a series of tactics that our community can use to work effectively to secure social change in their own interests. Yes, this might mean taking part in physical demonstrations, but it’s also about social media, new types of engagement, new compacts, and a new dynamism. The tactics of the 1970s don’t work in today’s politics and with today’s youth. That is why we have seen an increase in flash mob campaigning and in online activism, and there is more of this to come. (Grufferty, 2012) Research on today’s youth has shown young adults to be a caring generation, as Grufferty (2012) demonstrated through her first hand experiences with students in social activism. The author additionally mentioned the importance of teaching new leaders. The curriculum I would like to suggest to art teachers would utilize their photography department to grant students the ability to become social leaders and
train them to become effective activists. It is important to remember that teachers should be receptive to a wide gamut of activist issues that may arise because each person is a unique individual with distinctive concerns and passions. Need for a Variety of Photographic Processes in Social Justice Social activist T.V. Reed (2014) explained that there are many benefits of “digital activism in terms of speed, geographic reach, and costs of communication.” Reed mentioned the growing use of new digital art medias that are just as effective as traditional grassroots organizing. Reed specifically focused on activism that involves protest, but nonetheless, his arguments are valid for this research on general social justice. Reed explained that one major limitation of new digital activism is the loss of over 70% of people in the world that do not have access to online resources. However, there are other digital medias that are used offline such as posters, brochures, and alternative newspapers (Reed, 2013). New photographic tools such as digital forums and processes require participation and interaction which become key in creating successful digital art advocacy. “In many [protest art] works the artist is a co-‐producer along with those previously known as the audience. This is not a wholly new development in the arts, but, again, it is one that is enhanced and extended via the possibilities provided by digitizing cultures” (Reed, 2013). The author suggested that online digital advocacy, plus printed digital advocacy, should be used in tandem when fighting for a cause. For this research that means photography should ultimately be showcased in a variety of formats, both digital and printed, if working for an organized issue to impact the widest audience.
