Photographs Worth a Thousand Words - Revision history

Jaroy: /* Conclusion */

2017-06-22T11:15:10Z

‎Conclusion

Jaroy: /* Section 2: Deliverable */

2017-06-22T10:27:42Z

‎Section 2: Deliverable

Jaroy: /* Skylines */

2017-06-21T19:25:59Z

‎Skylines

Jaroy: /* Skylines */

2017-06-21T19:24:31Z

‎Skylines

Jaroy: /* Then & Now */

2017-06-21T19:22:43Z

‎Then & Now

Jaroy: /* Analysis */

2017-06-20T21:42:59Z

‎Analysis

Jaroy: /* Background */

2017-06-20T21:39:29Z

‎Background

Jaroy: /* Section 1: Existing Photographs */

2017-06-20T21:37:30Z

‎Section 1: Existing Photographs

Jaroy at 21:32, 20 June 2017

2017-06-20T21:32:44Z

Jaroy: /* Photographs Worth a Thousand Words */

2017-06-20T10:54:35Z

‎Photographs Worth a Thousand Words

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 =Conclusion=
 <br>
-Photographs can contain important messages and act as windows into the time and place that is being photographed. They can contain stories about their subject and reveal the culture of the time. They can also be a reflection of the photographer's beliefs. Despite this, photography has faced discrimination in the artistic community. While the artistic elements of photography have gained more recognition, some styles, such as photojournalism, are still largely ignored. This opens up quite a bit of material that can still be researched. While there are always more photographs that can be looked at, the development of the recognition of photography as an art form is probably another viable research topic.
+Photographs can contain important messages and act as windows into the time and place that is being photographed. They can contain stories about their subject and reveal the culture of the time. They can also be a reflection of the photographer's beliefs. Despite this, photography has faced discrimination in the artistic community. While the artistic elements of photography have gained more recognition, some styles, such as photojournalism, are still largely ignored. This opens up quite a bit of material that can still be researched. While there are always more photographs that can be looked at, the development of the recognition of photography as an art form is probably another viable research topic. Elements and techniques that go into photography and photojournalism would be a good area to pursue. Possible photography projects might include homelessness and the political environment (especially considering Brexit) as well as improving and expanding on the themes I began to explore.
 <br><br>

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 =Section 2: Deliverable=
-My goal for the deliverable was to capture some of my own photography of London that I felt conveyed aspects of the current culture. All of these photographers that I researched at some point saw something in the UK that they wanted to capture. For Jo Spence it was the injustice against women of her time. For Ken Russel it was the subculture of the Teddy Girls. My time in London revealed part of their culture to me that I attempted to capture in some photographs.
+Photojournalism is used to convey a story or message. Anybody can take a picture of something. It takes a true photographer to capture an image with meaning. It is by no means easy. Thought and consideration must go into every photograph. It must capture a scene and it should elicit a response from the viewer. Art is often said to be about how it makes the viewer feel. By extension, this is true of photography. For example, Bill Brandt's photographs of the bomb shelters both capture the scene of what the people were experiencing at the time while creating sympathy in viewers. <br>
 <br><br>
 ==Red Buses==
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 Image:Passenger- sm- JR.jpg|Passenger
 </gallery>
-"Double-Decker" and "Passenger" capture several iconic images associated with London. The focus of the pictures is on the classic double-decker buses. These buses are closely associated with London culture. It would be difficult for a visitor to London not to see one as they are all over the streets. They are also a symbol of the public transportation system as a whole. Public transportation is a large part of living in the city as there is limited room for cars. In London it is particularly glorified. It seems odd that something as common as public transportation would have its own extensive line of merchandise but it does. It is also raining in the pictures showing the notorious rainy weather of the United Kingdom. "Passenger" has some additional elements. First of all, it was taken from the perspective of a bus passenger. This was done to give a more personal and immersive feel. Secondly, there is a sticker that someone left on the window. The shape of the sticker is the standard transit logo, again showing its pervasiveness. The sticker says "#HopeNotHate". This little sticker displays the open culture that has been created in the country and the belief in acceptance. It is a little bit of positivity amidst all the chaos that the city can be. Finally, I made some artistic modifications to the photographs. I changed the photographs to black and white aside from a few colors. I preserved the bold and iconic red as well as blue and yellow. The red and blue comprise the transport logo and call attention to it as a focus of the pictures. The yellow is used on the buses and for the emergency exit sign, again drawing attention to common but integral parts of the buses. The red is predominant in the pictures to focus on the buses. It is also a bit symbolic. Not only is the red significant because it is the color of the buses but it is the color of the telephone boxes.
+"Double-Decker" and "Passenger" attempt to capture several iconic images associated with London. The focus of the pictures is on the classic double-decker buses. These buses are closely associated with London culture. It would be difficult for a visitor to London not to see one as they are all over the streets. They are also a symbol of the public transportation system as a whole. Public transportation is a large part of living in the city as there is limited room for cars. In London it is particularly glorified. It seems odd that something as common as public transportation would have its own extensive line of merchandise but it does. It is also raining in the pictures showing the notorious rainy weather of the United Kingdom. "Passenger" has some additional elements. First of all, it was taken from the perspective of a bus passenger. This was done to give a more personal and immersive feel. Secondly, there is a sticker that someone left on the window. The shape of the sticker is the standard transit logo, again showing its pervasiveness. The sticker says "#HopeNotHate". This little sticker displays the open culture that has been created in the country and the belief in acceptance. It is a little bit of positivity amidst all the chaos that the city can be. Finally, I made some artistic modifications to the photographs. I changed the photographs to black and white aside from a few colors. I preserved the bold and iconic red as well as blue and yellow. The red and blue comprise the transport logo and call attention to it as a focus of the pictures. The yellow is used on the buses and for the emergency exit sign, again drawing attention to common but integral parts of the buses. The red is predominant in the pictures to focus on the buses. It is also a bit symbolic. Not only is the red significant because it is the color of the buses but it is the color of the telephone boxes.
 <br><br>
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 Image:Times- sm- JR.jpg|Times
 </gallery>
-These photographs capture how London is a blend of the old and the new. London has been around from Roman times and still holds onto bits of those times. For example, there is still a section of Roman wall standing by Liverpool. While there is an abundance of old architecture, the city is also modern and still growing. There are skyscrapers and construction taking place all over the city. My photographs capture this blend of the old and the new. In "Liverpool" there is an example of older architecture on the left and a modern building on the right. In the back there is the iconic Gherkin and a high rise building. Construction cranes can also be seen indicating the continuing growth and development of the city. "Times" features an underground sign in the foreground with the Tower of London in the background. The Tower of London is a historic site that was once really used by royalty and as a fortress. In contrast, the underground sign represents modern society. Both photographs utilize the rule of three. In "Times" the underground sign is situated roughly where the right division line would be. In "Liverpool" the vertical lines are created by each side of the street and the horizontal lines are formed by the edge of the street and the skyline. It additionally has an element of perspective, focusing towards the construction in the back. The bus aids in forming a strong line that leads to the background.
+These photographs try to capture how London is a blend of the old and the new. London has been around since Roman times and still holds onto bits of those times. For example, there is still a section of Roman wall standing by Liverpool. While there is an abundance of old architecture, the city is also modern and still growing. There are skyscrapers and construction taking place all over the city. My photographs capture this blend of the old and the new. In "Liverpool" there is an example of older architecture on the left and a modern building on the right. In the back there is the iconic Gherkin and a high rise building. Construction cranes can also be seen indicating the continuing growth and development of the city. "Times" features an underground sign in the foreground with the Tower of London in the background. The Tower of London is a historic site that was once really used by royalty and as a fortress. In contrast, the underground sign represents modern society. Both photographs utilize the rule of three. In "Times" the underground sign is situated roughly where the right division line would be. In "Liverpool" the vertical lines are created by each side of the street and the horizontal lines are formed by the edge of the street and the skyline. It additionally has an element of perspective, focusing towards the construction in the back. The bus aids in forming a strong line that leads to the background.
 <br><br>
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 Image:Near MI6- sm- JR.jpg
 </gallery>
-Photojournalism has a lot to do with change. Photographs are used to capture the changing conditions of the time such as the growth of the Teddy Girl subculture or the change of lifestyle to adjust to war. Photographs are also used to bring about change such as Jo Spence's photographs during the women's rights movements. In these photographs I seek to show the changing conditions in London that are taking place on both a physical and cultural level. On a basic level, the change is seen in the skyline. Cranes and construction equipment are visible everywhere. That is what my photographs highlight. While some construction is maintenance, a lot of it is the result of gentrification in London. Gentrification is the movement of people and money into an area. A large cause of this movement in London was the 2012 Olympics because it was held in London. This attracted more people to the area. This created a demand for the area. Areas in travel zones two and three which were traditionally outside the wealth of central London had an influx of people. This drove property prices up. With the money comes demand for new stores and cafes. The East End, which has traditionally been an ethnic community of various immigrants over the years, is experiencing such gentrification. The old buildings and small shops are being replaced with new buildings. Meanwhile, the inhabitants are struggling to keep up with increasing prices and rent.
+Photojournalism has a lot to do with change. Photographs are used to capture the changing conditions of the time such as the growth of the Teddy Girl subculture or the change of lifestyle to adjust to war. Photographs are also used to bring about change such as Jo Spence's photographs during the women's rights movements. In these photographs I sought to show the changing conditions in London that are taking place on both a physical and cultural level. On a basic level, the change is seen in the skyline. Cranes and construction equipment are visible everywhere. That is what my photographs highlight. While some construction is maintenance, a lot of it is the result of gentrification in London. Gentrification is the movement of people and money into an area. A large cause of this movement in London was the 2012 Olympics because it was held in London. This attracted more people to the area. This created a demand for the area. Areas in travel zones two and three which were traditionally outside the wealth of central London had an influx of people. This drove property prices up. With the money comes demand for new stores and cafes. The East End, which has traditionally been an ethnic community of various immigrants over the years, is experiencing such gentrification. The old buildings and small shops are being replaced with new buildings. Meanwhile, the inhabitants are struggling to keep up with increasing prices and rent.
 <br><br>

@@ Line 168: / Line 168: @@
 Image:Near MI6- sm- JR.jpg
 </gallery>
-Photojournalism has a lot to do with change. Photographs are used to capture the changing conditions of the time such as the growth of the Teddy Girl subculture or the change of lifestyle to adjust to war. Photographs are also used to bring about change such as Jo Spence's during the women's rights movements. In these photographs I seek to show the changing conditions in London that are taking place on both a physical and cultural level. On a basic level, the change is seen in the skyline. Cranes and construction equipment are visible everywhere. That is what my photographs highlight. While some construction is maintenance, a lot of it is the result of gentrification in London. Gentrification is the movement of people and money into an area. A large cause of this movement in London was the 2012 Olympics because it was held in London. This attracted more people to the area. This created a demand for the area. Areas in travel zones two and three which were traditionally outside the wealth of central London had an influx of people. This drove property prices up. With the money comes demand for new stores and cafes. The East End, which has traditionally been an ethnic community of various immigrants over the years, is experiencing such gentrification. The old buildings and small shops are being replaced with new buildings. Meanwhile, the inhabitants are struggling to keep up with increasing prices and rent.
+Photojournalism has a lot to do with change. Photographs are used to capture the changing conditions of the time such as the growth of the Teddy Girl subculture or the change of lifestyle to adjust to war. Photographs are also used to bring about change such as Jo Spence's photographs during the women's rights movements. In these photographs I seek to show the changing conditions in London that are taking place on both a physical and cultural level. On a basic level, the change is seen in the skyline. Cranes and construction equipment are visible everywhere. That is what my photographs highlight. While some construction is maintenance, a lot of it is the result of gentrification in London. Gentrification is the movement of people and money into an area. A large cause of this movement in London was the 2012 Olympics because it was held in London. This attracted more people to the area. This created a demand for the area. Areas in travel zones two and three which were traditionally outside the wealth of central London had an influx of people. This drove property prices up. With the money comes demand for new stores and cafes. The East End, which has traditionally been an ethnic community of various immigrants over the years, is experiencing such gentrification. The old buildings and small shops are being replaced with new buildings. Meanwhile, the inhabitants are struggling to keep up with increasing prices and rent.
 <br><br>

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 </gallery>
 Photojournalism has a lot to do with change. Photographs are used to capture the changing conditions of the time such as the growth of the Teddy Girl subculture or the change of lifestyle to adjust to war. Photographs are also used to bring about change such as Jo Spence's during the women's rights movements. In these photographs I seek to show the changing conditions in London that are taking place on both a physical and cultural level. On a basic level, the change is seen in the skyline. Cranes and construction equipment are visible everywhere. That is what my photographs highlight. While some construction is maintenance, a lot of it is the result of gentrification in London. Gentrification is the movement of people and money into an area. A large cause of this movement in London was the 2012 Olympics because it was held in London. This attracted more people to the area. This created a demand for the area. Areas in travel zones two and three which were traditionally outside the wealth of central London had an influx of people. This drove property prices up. With the money comes demand for new stores and cafes. The East End, which has traditionally been an ethnic community of various immigrants over the years, is experiencing such gentrification. The old buildings and small shops are being replaced with new buildings. Meanwhile, the inhabitants are struggling to keep up with increasing prices and rent.
 =Conclusion=

@@ Line 159: / Line 159: @@
 Image:Times- sm- JR.jpg|Times
 </gallery>
-London is a blend of the old and the new. It has been around from Roman times and still holds onto bits of those times. For example, there is still a section of Roman wall standing by Liverpool. While there is an abundance of old architecture, the city is also modern and still growing. There are skyscrapers and construction taking place all over the city. My photographs capture this blend of the old and the new. In "Liverpool" there is an example of older architecture on the left and a modern building on the right. In the back there is the iconic Gherkin and a high rise building. Construction cranes can also be seen indicating the continuing growth and development of the city. "Times" features an underground sign in the foreground with the Tower of London in the background. The Tower of London is a historic site that was once really used by royalty and as a fortress. In contrast, the underground sign represents modern society. Both photographs utilize the rule of three. In "Times" the underground sign is situated roughly where the right division line would be. In "Liverpool" the vertical lines are created by each side of the street and the horizontal lines are formed by the edge of the street and the skyline. It additionally has an element of perspective, focusing towards the construction in the back. The bus aids in forming a strong line that leads to the background.
+These photographs capture how London is a blend of the old and the new. London has been around from Roman times and still holds onto bits of those times. For example, there is still a section of Roman wall standing by Liverpool. While there is an abundance of old architecture, the city is also modern and still growing. There are skyscrapers and construction taking place all over the city. My photographs capture this blend of the old and the new. In "Liverpool" there is an example of older architecture on the left and a modern building on the right. In the back there is the iconic Gherkin and a high rise building. Construction cranes can also be seen indicating the continuing growth and development of the city. "Times" features an underground sign in the foreground with the Tower of London in the background. The Tower of London is a historic site that was once really used by royalty and as a fortress. In contrast, the underground sign represents modern society. Both photographs utilize the rule of three. In "Times" the underground sign is situated roughly where the right division line would be. In "Liverpool" the vertical lines are created by each side of the street and the horizontal lines are formed by the edge of the street and the skyline. It additionally has an element of perspective, focusing towards the construction in the back. The bus aids in forming a strong line that leads to the background.
 <br><br>
 =Conclusion=

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 ===Analysis===
-This photograph appears to portray a negative perspective on all the change that is taking place. First of all, the building is run down showing a state of decay. The sidewalk is crumbling. Secondly, the kids are supposed to be the future of the people and are part of the generation bringing about all the change. However, one kid is just laying down on the window sill of the abandoned building. Even the kids who should be full of energy, are run down. Perhaps most significantly, there is graffiti on the building saying "God Save the Queen". Within that statement, two symbols of tradition are called forth. The first is religion. Religion has had very strong roots in the country as England had a whole civil war over their official religion. The second symbol is the Queen. The monarchy is an establishment that continues today even though primarily only for the sake of tradition. The writer of the graffiti clearly felt as though such institutions and traditions were being threatened by the changes taking place in the country. As the person wanted the queen "saved" there is no doubt that the changes were seen as negative.
+This photograph appears to portray a negative perspective on all the change that was taking place. First of all, the building is run down showing a state of decay. The sidewalk is crumbling. Secondly, the kids are supposed to be the future of the people and are part of the generation bringing about all the change. However, one kid is just laying down on the window sill of the abandoned building. Even the kids who should be full of energy, are run down. Perhaps most significantly, there is graffiti on the building saying "God Save the Queen". Within that statement, two symbols of tradition are called forth. The first is religion. Religion has had very strong roots in the country as England had a whole civil war over their official religion. The second symbol is the Queen. The monarchy is an establishment that continues today even though primarily only for the sake of tradition. The writer of the graffiti clearly felt as though such institutions and traditions were being threatened by the changes taking place in the country. As the person wanted the queen "saved" there is no doubt that the changes were seen as negative.
 ==The Highest Product of Capitalism (After John Heartfield)==

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 }}
 ===Background===
-This photograph was taken on November 12th, 1940. This was about 10 days prior to the end of the Blitz. The Blitz was one of the major events in World War II for Britain. In early September of 1940, Hitler was aggravated at Britain's dominance over Luftwaffe and the bombing of German cities. In order to save face, the head of Luftwaffe, Hermann Goering, decided to change tactics and launch an air raid on Britain. His goal was that the bombings would destroy public moral and draw out all of Britain's forces to be destroyed. Instead, the shift of focus from attacking military bases gave the British the opportunity to strengthen their forces and gave the soldiers a stronger cause to fight for, the lives of their families and friends. The air raids lasted for 76 days.  Bombs were dropped day and night. The bombs decimated infrastructure and left fires ravaging London. Similar raids were also held against Bristol, Manchester, Swansea, Liverpool, Cardiff, and Southampton.<ref>Germany bombs london. Retrieved from http://www.bbc.co.uk/history/events/germany_bombs_london</ref> Bill Brandt was commissioned to take this photograph and others documenting the conditions of the air-raid shelters by the Ministry of Information's Home Office in the fall of 1940. <ref>HAWORTH-BOOTH, M., & MELLOR, D. (1985). BILL BRANDT: Behind the Camera: PHOTOGRAPHS 1928-1983. Aperture, (99), 1-99. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/24471593</ref><ref>Field, G. (2002). Nights Underground in Darkest London: The Blitz, 1940-1941. International Labor and Working-Class History, (62), 11-49. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/27672803</ref> The photograph has been noted for the contrast between light and dark created by using flash and long exposure. This mirrors the contrast in the subject of the photograph. The photographs capture dull, everyday life yet the chaos of people crowded into the shelters during a time of danger. <ref>Field, G. (2002). Nights Underground in Darkest London: The Blitz, 1940-1941. International Labor and Working-Class History, (62), 11-49. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/27672803</ref> The photographs have been called "a moving portrait of London's resilience during the Blitz". <ref>Brooke, S. (2006). War and the Nude: The Photography of Bill Brandt in the 1940s. Journal of British Studies, 45(1), 118-138. doi:10.1086/497058</ref>
+This photograph was taken on November 12th, 1940. This was about 10 days prior to the end of the Blitz. The Blitz was one of the major events in World War II for Britain. In early September of 1940, Hitler was aggravated at Britain's dominance over Luftwaffe and the bombing of German cities. In order to save face, the head of Luftwaffe, Hermann Goering, decided to change tactics and launch an air raid on Britain. His goal was that the bombings would destroy public moral and draw out all of Britain's forces to be destroyed. Instead, the shift of focus from attacking military bases gave the British the opportunity to strengthen their forces and gave the soldiers a stronger cause to fight for, the lives of their families and friends. The air raids lasted for 76 days.  Bombs were dropped day and night. The bombs decimated infrastructure and left fires ravaging London. Similar raids were also held against Bristol, Manchester, Swansea, Liverpool, Cardiff, and Southampton.<ref>Germany bombs london. Retrieved from http://www.bbc.co.uk/history/events/germany_bombs_london</ref> Bill Brandt was commissioned to take this photograph and others documenting the conditions of the air-raid shelters by the Ministry of Information's Home Office in the fall of 1940. <ref>HAWORTH-BOOTH, M., & MELLOR, D. (1985). BILL BRANDT: Behind the Camera: PHOTOGRAPHS 1928-1983. Aperture, (99), 1-99. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/24471593</ref><ref>Field, G. (2002). Nights Underground in Darkest London: The Blitz, 1940-1941. International Labor and Working-Class History, (62), 11-49. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/27672803</ref> The photograph has been noted for the contrast between light and dark created by using flash and long exposure. This mirrors the contrast in the subject of the photograph. The photograph captures dull, everyday life yet the chaos of people crowded into the shelters during a time of danger. <ref>Field, G. (2002). Nights Underground in Darkest London: The Blitz, 1940-1941. International Labor and Working-Class History, (62), 11-49. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/27672803</ref> The photographs have been called "a moving portrait of London's resilience during the Blitz". <ref>Brooke, S. (2006). War and the Nude: The Photography of Bill Brandt in the 1940s. Journal of British Studies, 45(1), 118-138. doi:10.1086/497058</ref>
 <br>

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 Photography can be a powerful outlet and tool. People can use it as a coping tool or a way to get their voice out. The British Journal of Photography recounts multiple instances of photography being used to adjust to a new environment, gain new understanding or speak out. David Gaberle took up photography after moving to London and struggling for a while. Now he travels internationally, capturing the essence of major cities. <ref>D'Aliesio, S. (2017). Photobook: Metropolight by david gaberle. British Journal of Photography, Retrieved from http://www.bjp-online.com/2017/04/photobook-metropolight-by-david-gaberle/</ref>Spencer Murphy gained new insight into the dirt biker subculture. He no longer sees them as reckless criminals but as a community of individuals seeking freedom from mundane life. <ref>Hamilton, R. S. (2017). Wheelies, balaclavas and broken bones: Welcome to UK BikeLife. British Journal of Photography, Retrieved from http://www.bjp-online.com/2017/05/wheelies-balaclavas-and-broken-bones-welcome-to-uk-bikelife/</ref> In recent years the British Journal of Photography has launched a new yearly campaign to showcase British culture and what it means to live in the United Kingdom called Portrait of Britain through creating a collection of professional and amateur photographs. Such photographs join ranks of photographs from throughout history that are treasured for the story they tell about British society. The Hyman Collection was created to share such material and contains iconic photographs from throughout the United Kingdom's history to modern day.<br>
 Despite the significance of photography, it is often disregarded by the artistic community. In 1954 the Virginia and Albert Museum was quoted saying that "art is a purely mechanical process into which the artist does not enter".<ref>Blank, P. (1990). THE IMPACT OF PERSONAL AND CULTURAL BIAS ON THE LITERATURE OF CAMERALESS PHOTOGRAPHY: Difficulties in the Literature Search and the Librarian's Response. Art Documentation: Journal of the Art Libraries Society of North America, 9(2), 96-100. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/27948206</ref> Furthermore, Peter P. Blank of the Metropolitan Museum of Art found that photography was left out of many significant art books and that photographs were not looked at from an artistic perspective. In later times there have been more critical analysis but the sections in literature on photography are notably short. <ref>Blank, P. (1990). THE IMPACT OF PERSONAL AND CULTURAL BIAS ON THE LITERATURE OF CAMERALESS PHOTOGRAPHY: Difficulties in the Literature Search and the Librarian's Response. Art Documentation: Journal of the Art Libraries Society of North America, 9(2), 96-100. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/27948206</ref> <br>
-Likewise, my research using scholarly portals such as JSTOR was able to find little analytical material on photojournalism from an artistic perspective. The emphasis of the material was placed on the historical or cultural condition depicted by the photograph. The photographs were used simply as visual aids in articles about a time period or cultural movement. Otherwise, articles focused on other stages of the photographer's careers that were considered more artistic. I noticed a trend in the lives of the photographers I researched. Many of them started off as assistants and/or took portraits. They would then feel motivated to take social action and take up some form of photojournalism. For some reason or other, they would then move away photojournalism and develop their own style. That last stage in their career is what would capture the attention of scholars. <br>
+Likewise, my research using scholarly portals such as JSTOR was able to find little analytical material on photojournalism from an artistic perspective. The emphasis of the material was placed on the historical or cultural condition depicted by the photograph. The photographs were used simply as visual aids in articles about a time period or cultural movement. Otherwise, articles focused on other stages of the photographer's careers that were considered more artistic. I noticed a trend in the lives of the photographers I researched. Many of them started off as assistants and/or took portraits. They would then feel motivated to take social action and take up some form of photojournalism. For some reason or other, they would then move away from photojournalism and develop their own style. That last stage in their career is what would capture the attention of scholars. <br>
-Therefore, my project will be looking at individual photographs and their significance more than has previously been done. I have chosen several photographs from The Hyman Collection as well as some from collections featured in the British Journal of Photography to analyze the message the photographs are telling.
+Therefore, my project looks at individual photographs and their significance more than has previously been done. I chose several photographs from The Hyman Collection as well as some from collections featured in the British Journal of Photography to analyze the message the photographs are telling.
 <br><br>
 ==London, Air Raid Shelters, East End Underground Station, November 12th, 1940==

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 =Abstract=
-The purpose of this project is to explore how photography is used as a form of communication, reflecting on the social and political conditions of the time. I will be selecting a few photographs that reflect British culture and will analyze how the photographer captures the subject and conveys his/her message to the viewer. To achieve this, I will also tie in historical background as needed. This project will provide breadth beyond my theater concentration.
+The purpose of this project was to explore how photography has been used as a form of communication, reflecting on the social and political conditions of the time. I selected a few photographs that reflect British culture and analyzed how the photographer captures the subject and conveys his/her message to the viewer. To achieve this, I included historical background as needed. This project will provide breadth beyond my theater concentration.
 <br><br>
 =Introduction=
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 =Section 1: Existing Photographs=
-Photography can be a powerful outlet and tool. People can use it as a coping tool or a way to get their voice out. The British Journal of Photography recounts multiple instances of photography being used to adjust to a new environment, gain new understanding or speak out. David Gaberle took up photography after moving to London and struggling for a while. Now he travels internationally, capturing the essence of major cities. <ref>D'Aliesio, S. (2017). Photobook: Metropolight by david gaberle. British Journal of Photography, Retrieved from http://www.bjp-online.com/2017/04/photobook-metropolight-by-david-gaberle/</ref>Spencer Murphy gained new insight into the dirt biker subculture. He no longer sees them as reckless criminals but as a community of individuals seeking freedom from mundane life. <ref>Hamilton, R. S. (2017). Wheelies, balaclavas and broken bones: Welcome to UK BikeLife. British Journal of Photography, Retrieved from http://www.bjp-online.com/2017/05/wheelies-balaclavas-and-broken-bones-welcome-to-uk-bikelife/</ref> In recent years the British Journal of Photography has launched a new yearly campaign to showcase British culture and what it means to live in the United Kingdom called Portrait of Britain through creating a collection of professional and amateur photographs. Such photographs join ranks of photographs from throughout history that are treasured for the story they tell about British society. The Hyman Collection was created to share such material and contains iconic photographs from throughout the United Kingdom's history to modern day. Despite the significance of photography, it is often disregarded by the artistic community. In 1954 the Virginia and Albert Museum was quoted saying that "art is a purely mechanical process into which the artist does not enter".<ref>Blank, P. (1990). THE IMPACT OF PERSONAL AND CULTURAL BIAS ON THE LITERATURE OF CAMERALESS PHOTOGRAPHY: Difficulties in the Literature Search and the Librarian's Response. Art Documentation: Journal of the Art Libraries Society of North America, 9(2), 96-100. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/27948206</ref> Furthermore, Peter P. Blank of the Metropolitan Museum of Art found that photography was left out of many significant art books and that photographs were not looked at from an artistic perspective. In later times there have been more critical analysis but the sections in literature on photography are notably short. <ref>Blank, P. (1990). THE IMPACT OF PERSONAL AND CULTURAL BIAS ON THE LITERATURE OF CAMERALESS PHOTOGRAPHY: Difficulties in the Literature Search and the Librarian's Response. Art Documentation: Journal of the Art Libraries Society of North America, 9(2), 96-100. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/27948206</ref> Likewise, my research using scholarly portals such as JSTOR was able to find little analytical material on photojournalism indicating that it still continues to suffer from this bias. The emphasis of the material was placed on the subject issue of the photography with the pictures simply as a visual aid instead of on the photograph and how it captured the problem. Otherwise, articles focused on other stages of the photographer's careers that were considered more artistic. I noticed a trend in the lives of the photographers I researched. Many of them started off as assistants and/or took portraits. They would then feel motivated to take social action and take up some form of photojournalism. For some reason or other, they would then move away photojournalism and develop their own style. That last stage in their career is what would capture the attention of scholars. Therefore, my project will be looking at individual photographs and their significance more than has previously been done. I have chosen several photographs from The Hyman Collection as well as some from collections featured in the British Journal of Photography to analyze the message the photographs are telling.
+Photography can be a powerful outlet and tool. People can use it as a coping tool or a way to get their voice out. The British Journal of Photography recounts multiple instances of photography being used to adjust to a new environment, gain new understanding or speak out. David Gaberle took up photography after moving to London and struggling for a while. Now he travels internationally, capturing the essence of major cities. <ref>D'Aliesio, S. (2017). Photobook: Metropolight by david gaberle. British Journal of Photography, Retrieved from http://www.bjp-online.com/2017/04/photobook-metropolight-by-david-gaberle/</ref>Spencer Murphy gained new insight into the dirt biker subculture. He no longer sees them as reckless criminals but as a community of individuals seeking freedom from mundane life. <ref>Hamilton, R. S. (2017). Wheelies, balaclavas and broken bones: Welcome to UK BikeLife. British Journal of Photography, Retrieved from http://www.bjp-online.com/2017/05/wheelies-balaclavas-and-broken-bones-welcome-to-uk-bikelife/</ref> In recent years the British Journal of Photography has launched a new yearly campaign to showcase British culture and what it means to live in the United Kingdom called Portrait of Britain through creating a collection of professional and amateur photographs. Such photographs join ranks of photographs from throughout history that are treasured for the story they tell about British society. The Hyman Collection was created to share such material and contains iconic photographs from throughout the United Kingdom's history to modern day.<br>
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 ==London, Air Raid Shelters, East End Underground Station, November 12th, 1940==
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 =Section 2: Deliverable=
 <br><br>
 ==Red Buses==

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 |title = Photographs Worth a Thousand Words
 |bodystyle  = width:25em
-|image = [[File:ProjectPicture.jpg|x450px|alt=Milestone Image]]
+|image = [[File:Collage- sm- JR.jpg|x650px|alt=Milestone Image]]
 |caption = Justine Roy
 }}