You are here: Home Learning Schools and teachers Every picture tells a story. Students learn about their own history and that of their family.
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As participants in their own history, students build on their own knowledge and understanding of how the past is different from the present. Key inquiry question Content summary. Background notes for teachers.
A picture and its story | The Wider Image | Reuters
Discuss the following with your students: People like photos because they help us remember people, places and events from a long time ago. When documentary photography is discredited due to constant misuse and manipulation, we need to reexamine the tool itself. Ekow Eshun. Rather the way a great story can knock you off balance through the force of its aesthetics or the particular sensibility of the photographer responsible for it.
There is no single formula here. Bernd and Hilla Becher. William Eggleston.
Malick Sidibe. Wolfgang Tillmans: what connects figures like these is their ability to render something wondrous, thrilling, amusing or richly romantic out of the ordinary stuff of the world.
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An outstanding photo story is a little piece of alchemy — lead into gold. Donald Weber. You have to be driven by fire and driven by the desire to say something. If you can dig deep within yourself and understand what motivates you to make work in the first place, ideas will come to you that have ultimate significance.
Photography was scientific, objective and neutral, with the camera recording what was visible to the eye and making a faithful visual reproduction. But even then, the famous saying seems to have been used with a degree of irony. Photography quickly become associated with commerce and art rather than being seen as a scientific recording process.
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There was an awareness that many factors come into play in how an image comes about — and not least because this was sometimes blatantly obvious in the photographs themselves. The first breaking news photograph published in an Australian newspaper — in — was of a train crash at Young, New South Wales. That photographer knew, even then, that photographs had a commercial value — especially for newspapers.
The s was a ruthless period of corporate expansion in newspapers and the most competitive newspaper owners and executives, including Hugh Denison, Keith Murdoch and Frank Packer, pushed their papers into the modern age by hiring more photographers and placing photographs more prominently within their papers. The remarkable popularity of that paper, with its pictures-only front page, influenced other newspapers around the country which looked staid in comparison. Even the more conservative broadsheets began popularising their papers with more photographs, and photographs on more prominent pages.
The press photographers who began working in greater numbers for newspapers from this point captured events as they happened but they also staged scenes, rearranged them or had events re-enacted for the camera. For photographers who worked for newspapers, even in the s through to the s, there was an expectation that they had to make events more presentable and fit for publication.
They saw this as a skill and a part of the job, that they had to think creatively about how to illustrate news. While this is still the case today, especially with hard news photographs, other types of photographs, such as portraits of people and social event photographs, still usually require some intervention from the photographer.
This can range from asking the subject to move into better light or closer to someone else in the photograph, to requesting they perform some action, or look in a particular direction.