Reading Prompt Due Sunday 5pm

According to Samantha Baskind, why were the Bristol photographs published in Life magazine? Why did Bristol have such a hard time publishing the photographs, and how did the publication of the Grapes of Wrath give them a new life?

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Digital Media Prompt due by Tuesday 5pm

In his article, The Ethics of Street Photography, McGorty discusses a distinct difference between the work of street photographers and the paparazzi. According to McGorty, what is the main distinction? Explain why you agree or disagree with his explanation.

How do the captions of his street photography contradict or align with his work philosophy?


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Esra’s Photo story…Again

So, I guess there was some problems with the link I had previously posted. Below I have some links to my blog. If the first one works, I prefer you look at that one. (I intentionally laid some of the images side by side and made certain ones larger than others for emphasis.) But if that link doesn’t work, the second is sure to work.



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Reading Prompt Due Sunday by 5pm

In the introduction to “You Have Seen Their Faces,” Erskine Caldwell and Margaret Bourke White state the following:

No person, place or episode in this book is fictitious  but names and places have been changed to avoid unnecessary individualization; for it is not the authors’ intention to criticize any individuals who are part of the system depicted. The legends under the pictures are intended to express the author’s own conceptions of the sentiments of the individual’s portrayed; they do not pretend to reproduce the actual sentiments of these persons.”

Please comment on the notions of: “unnecessary individualization, ” “the authors own conceptions of the individuals portrayed” and “pretending to reproduce the actual sentiments of these persons” presented here.

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Digital Media Prompt Due Tuesday by 5pm

Explore the follow webpage and photographs. (View the photographs first and then click on the photograph to learn more about the story.)

Please comment on how each photographer works to conceptualize and represent their notion of poverty.

“Here is our contribution – a collection of images taken to highlight poverty from around our globe. Click the images to be taken to the Flickr pages of the photographer and to learn more about the story behind the faces you see.”

Read more:

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Colleen’s Photo Narrative






Woman Looking out of Car Window





Photo 1:

Photo 2:

Photo 3:
Personal photo taken by Caitlin Shipley.

Photo 4:

Photo 5:

Photo 6:

Photo 7:

Photo 8:

Photo 9:

Photo 10:

I want to keep my photographic essay as only images because I like the idea of it evoking a feeling rather than a specific a specific idea I want people to take away from it. I think everyone can find their own connection to it and I don’t want to tell my viewers what to see. I would compare that to showing someone a movie when they wanted to read the book first; you can’t spoil someone’s interpretation of the meaning before they even form one.

If anything, I think this most closely follows Muhr’s experiment where he asked different people to give his photos a caption. Some thought he was just trying to stereotype the individuals or poke fun at their simplemindedness but I think he was genuinely interested in hearing what they had to say.

Besides the one picture my sister took, I don’t really feel a connection to the photographers because their intention for shooting the pictures was much different than my intention for assembling all of them. When I was in the process of assembling them and then reviewing the final product, I felt like I was making something completely new, that the sum of the images was greater than all of its parts. For this reason, I feel more of a dialogue between the viewer and myself. Although they didn’t know it, there are some very personal experiences tied up in this narrative, so I feel like I’m being very vulnerable in publishing this. In the same way, there might be triggers that my classmates and teachers are feeling that I will never know. It’s like standing next to a friend while you look at the same piece of art. We’re both looking at the same thing but are experiencing it very differently.

I toyed with several themes in this narrative and I like that it made for different punctums for different people. The closed door meant the closing of one chapter of your life, but the potential of opening another. The rope, as Daune said, could be an umbilical cord. I thought of it as an anchor to know where you are securely rooted. For me, that is in my siblings. I had a kind of volatile upbringing, but they were my constants, often acting as the parents growing up. The specific idea of a rope came from a Bible verse that says, “a cord of three strands is not easily broken.”

Next is a picture my sister took of me looking out a window, thinking. I did this a lot when I was younger. Being the youngest of four I never had the chance to say much so I got really good at staring out the windows of our car or our house and just thinking. About the past, the future, people and events that didn’t exist yet. I thought this picture was very characteristic of the start of my journey from home to college.

The next picture of the crying bird is captivating; I can’t take my eyes off of it but it almost brings me to tears. It reminds me of one night a few days before I left for school when I just sat out on my front porch and cried in anticipation of the future. I couldn’t wait long enough to leave home and I knew it was the best thing for me but the uncertainty was scary. So the next two pictures show the obligatory tense car drive to college, as I look out the window to the potential of my future as an individual. Scott aptly described it when he said, “[I] take one last look at the place where [I] have lived for so long, then it is time to leave the nest.”

The next picture of birds flying from the trees illustrates as Kim called it “taking flight” or as Scott called it “migration.” This is the official leap of faith from security to the unknown. The picture following is just solid blue. I thought this was appropriate because it reminded me of song lyrics that go “dark blue, dark blue, have you ever been alone in a crowded room?” My first semester at college had a lot of highs and lows. To the point where I was eventually diagnosed with mild to moderate depression, general anxiety, social anxiety, and OCD. That semester was such a learning experience that has only made me stronger in my self and in my faith.

To show this, in my next picture I have a strong oak tree to show my ability to find my passion [the environment] and find myself in order to grow and thrive. However, oak trees must have equally firm roots in order to reach such great heights. I like how Kim noted “our past helped us to prepare for this moment, and we look to it for guidance, but there comes a point where we have to do some growing on our own.”

After this growing process, there is kind of a lag before the next photo. I searched everywhere for a picture to connect this idea of growing to having come out full circle on the other side. The reason I had so much trouble is because I don’t know what belongs there- only the next few years will tell. After that elusive point I will eventually reach the final photo and be able to look through the rearview mirror at the issues I once found so daunting through the front windshield. For this reason, I would agree with Barthes that each picture is a death of a certain phase of life or portion of the journey.

Reflection Paragraph(s):

I began this project wanting to examine what home meant for me since being at college. Every time I go back to my parents’ house it doesn’t feel quite the same and I feel awkward having to straddle two lives. I had a hard time making this struggle into concrete ideas and then an even harder time finding images for it. I don’t know what makes something “feel like home” and I had to accept that this awkward feeling wouldn’t be resolved through this assignment. I did, however, explore the journey from the end of my summer to the end of my first semester. Those three or four months encapsulated a lot of change and emotions and I wanted to make something that was very personal but also very accessible to most college freshmen. So I’m glad that Scott and Kim got the idea of what I envisioned for my narrative.

Looking at the finished product, I’m going to title my narrative “Such Great Heights” after the song by the Postal Service. I think all of my images relate to moving forward and moving up. The rope is the anchor or roots but beyond that my pictures are about driving forward in a car, taking flight, or growing taller as a tree. This is all to show the growth I went though last semester.


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The Place Where She Belongs

Justification includes citations.

Reflection on the project:

The kitchen has eternally been woman’s place in the home.  While men are assigned to novel, more seasonal tasks, often those that require machinery, the socialization of household duties has assigned women to repetitive, everyday tasks such as cooking.  I included a photo representing each decade from the 1910s to the present, showing the evolution of the kitchen from an industrial place to a domestic center to a place of comfort for a woman.  Originally, my vision was to chronicle the strides that women made throughout the past century.  With the advent of new technology and the three waves of feminism that have happened since, women are no longer slaves to the kitchen.  We have the opportunities to pursue our own careers outside of the home, and we can turn our home into a haven for relaxation.

When Dr. Jelen commented on my photo essay, she said, “When I first saw your essay I thought it was about kitchens, but not about the women in them.”  This statement reveals the implicit truth about women in the kitchen – that they are as much of a fixture in the kitchen as the appliances that they value.  As Elana and Esra commented, women will forever be associated with the home and the kitchen in advertising and the media.

By choosing the title “The Place Where She Belongs,” I hope to convey both sides of the argument for and against women’s progress.  The kitchen has moved from a necessary habitat for women to a place where women can enjoy themselves and entertain company, as Terra said.  Yet stereotypes about woman still linger, and it’s hard to escape the domesticity that has become her captor.  Depending on a woman’s class and background, the kitchen can remain a prison or be a place for relaxation and community.  Either way, it’s “the place where she belongs.”

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