A more reasonable explanation for the hole is the removal of the emergency light or siren which also explains why the hole is centered precisely on the cross." This photo, found on , shows (in the lower right) how some of their ambulances do indeed have sirens or lights in the exact center of the cross.
Doss, a commenter on Little Green Footballs, showing the systematic bias in Reuters editorial captions to photos of the war in Lebanon, with (unfortunately now expired) links documenting each point.
A personal project it could be the story,…for instance I've got a daughter in Girl Scouts,…of her selling cookies.…It could be something as simple as that…as long as it's telling a story.…For work, I've done photo essays for years.…One of these work photo essays that I've done…was with National Geographic Adventure magazine…down in Antarctica.…And it was a project that I did…with an organization called the Sea Shepherd.…They were down in Antarctica…combating what they considered an illegal whaling vessel…
Digitally manipulating images after the photographs have been taken.
This is what has been getting the majority of coverage in the media, because it is the most clear-cut -- even if the actual significance or newsworthiness of the photos involved is not particularly great.
- A photo story or a photo essay…is really just a collection of images…that tell a story and propel a narrative…over multiple images.…That could be either a diptych or a triptych,…like in an art exhibit at a gallery.…It's really just more than one image…that we can learning something…through the characters that are there.…That could be a book project, a long-term project,…a short-term project,…and it can be something that you're doing for work…or a personal project.…For work it might be for a newspaper or a magazine…or an online gallery.…
It's true that photo essays are one of the cores of photojournalism, but they're relevant in a lot of other ways, too—to document your family, the place where you live or work, or the business that your company conducts.
Vivian Choi is Assistant Professor of Anthropology at St. Olaf College. She received her PhD in Anthropology at the University of California, Davis. With Michelle Stewart, she was a cofounder of the Photo Essays section. Her current book project, , examines the social, political, and technological intersections of the 2004 Indian Ocean tsunami and the decades-long civil war in Sri Lanka, paying particular attention to disaster and risk management, conflict, and national security. As a part of this project, she examines a range of experiences and representations of disaster, including digital maps, videos, and photographs. Her next project examines sea-surface warming in the Indian Ocean basin. As a slow-moving disaster situated within broader concerns about anthropogenic climate change, sea-surface warming poses questions about the modes and infrastructures of institutional, scientific, and international collaboration required to approach a phenomenon taking place on so grand a scale.
Ethics and Politics of Representation: Ethics and the politics of representation are guiding principles for any anthropological work. We intend to consider if and how the media-maker understands power relationships and inequities in the production and dissemination of images. An ethically and representationally sophisticated approach needs to show knowledge of how images are likely to be read. Photo-essayists should show that they have considered reflexivity, positionality, rapport, the building of trust, and consent as part of their methodology.
Image–Text Relationship: What is the relationship between text and image? Is this relationship generative? Primarily, we are concerned as to whether the author recognizes that images and text convey different kinds of information and that they have sought to maximize the affordances of each media in their photo-essay. Submissions should not rely on either media, but especially text, in order to make their arguments. Instead, the juxtaposition of text and photographs—and therefore the photo-essay itself—should be greater than the sum of its parts.
Arjun Shankar is a postdoctoral fellow at the University of Pennsylvania. His work brings together theories of globalization and development, literary and visual ethnography, affect theory, and curiosity studies. His current book project, , retheorizes the concept of development given the emergence of transnational diasporic networks, the increased use of digital technologies, and human rights discourses that, together, influence how social change can and should occur. In representing the experiences of those in his study, his monograph is broken down into sixty “frames,” each of which includes an image that drives the discussion. The writing of this ethnography is thus also an attempt to textualize the digital. Shankar is also working on a documentary film about the history of scientific racism, based on a critical re-excavation of the Morton Skull Collection. One of the largest collections in the United States, it became the basis for racial categorization and racist ideologies. Shankar is a board member of the Society for Visual Anthropology. As a media maker as well as a dedicated pedagogue, he encourages teachers and researchers to think with multimodality, making the audiovisual part of research design as well as classroom instruction.
Production Quality and Theory of the Image: This criterion is intended to challenge notions of the photograph as mere description, i.e., an unmediated look into a given social world. Photographs require technical skills and artistic ability and, as such, the author should show a strong understanding of the photograph as an aesthetico-political form. Are the photographs compelling as independent productions? Do they show a cognizance of framing, lighting, and color? Does the photographer articulate his or her technical approach in a way that might compellingly challenge a viewer’s way of seeing?