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Personal Project: Venice Beach

Unique, lively, weird, artsy, funky, eccentric are the words that describe Venice Beach. But it wasn't always this way. Venice Beach was founded in 1905 by a tobacco millionaire named Abbot Kinney. The idea for Venice was to be a resort town of beach cottages. At first, Venice was filled with beach cottages and amusement park rides, but the city became neglected after time. Low rents attracted minorities, immigrants, and local artists and helped shape today's culture. 

Venice continues to grow as new residential developments and businesses have emerged. In addition, the beach has had a surge in homeless encampments over the past few years. 

However, despite the changes, Venice's uniqueness never went away, and today, it is still a popular place to visit.

Venice Beach has held many different reputations throughout the years, but it's a great place where subcultures meet and find common ground—the fresh sea air, sunny skies, sandy beaches, and its unique throwback to the era of the 60s and 70s.

Today, Venice Beach is a hodgepodge of decades worth of influences. The boardwalk is filled with artists who sell bohemian novelties, street performers singing or dancing for tips, skaters riding over to the skate park, and tourist shops with any item one can think of that has "Venice Beach" printed on it. To add, the street art at the boardwalk features some amazing murals by very talented people.

On any given day, you'll see, hear and talk to some offbeat people such as: acrobats, singers, muscle heads, drummers, fortune tellers, or even eccentric locals that live on the beach. The possibilities are endless.

The boardwalk is eccentric, creative, colorful, and sometimes feels like being at one big carnival. As I walked around, I noticed how wild, chaotic, but chill the atmosphere is in Venice. There is music blasting from every direction. People are laughing, yelling, fighting, and crying all at the same time. The beach air smells of seawater, trash, and marijuana. This photo essay will attempt to depict some of the oddities that make up Venice Beach, California.

                        Slide Show Presentation Link

Iconic Venice sign hangs on the corner of Pacific Avenue and Windward Avenue on Sunday, Dec. 12, 2021, in Venice Beach, Calif. The sign is a modern day replica of the one that was originally installed in 1905. Photo by Shannon Carter.

The Venice Beach boardwalk is the second most visited destination in Southern California, after Disneyland, according to LACity.Org. On any given day it is estimated that nearly 30,000 people visit the location. Photo taken on Sunday, Dec. 12, 2021, by Shannon Carter.

The Sanctuary on Venice is a small group of unhoused people who live on the beach and find and share resources with other homeless individuals. Throughout the pandemic, the homeless population in Venice Beach grew by 57 percent, according to city officials. Photo taken on Monday, Oct. 4, 2021, in Venice Beach, Calif., by Shannon Carter.

Venice is widely known for the amount of art that is found on the boardwalk. Artists from all around the greater Los Angeles region come to Venice to creatively express themselves through street art. Photo taken on Sunday, Oct. 10, 2021 in Venice Beach, Calif., by Shannon Carter.

As soon as you step on the boardwalk, you’ll be greeted by an assortment of souvenir vendors, t-shirt booths, and artisan jewelry outlets that all reflect the peculiar nature of Venice and where the apparel can fit almost any personality type. Photo taken on Monday, Oct. 04, 2021, in Venice Beach, Calif., by Shannon Carter.

The Vintage Boardwalk, a souvenir shop in Venice, has an art fixture of a raging ape posted outside of its shop. A store employee said the owner personally decorated the statue to match the liveliness of Venice Beach. Photo taken Sunda, Dec. 12, 2021, in Venice Beach, Calif., by Shannon Carter.

Paulette, the Poette, comes to Venice Beach once a week and offers intuitive poem readings for $3. “My craft is not conventional, some people think what I do is strange,” Paulette said on Tuesday, Nov. 30, 2021, in Venice Beach, Calif. “But Venice is a place where I feel accepted and where I can share my art with people of like-minds.” Photo by Shannon Carter.

Paulette uses a typewriter and special parchment paper to type her poems onto. She said that these details bring a level of nostalgia and specialty to her creative process.

Simon, a local musician, plays a grand piano on the boardwalk of Venice Beach, Calif., on Monday, Oct. 4, 2021. He said the piano as given to him last year by a friend, but Simon has been playing the instrument for over 25 years. Photo by Shannon Carter.

A local artist painted the side of Simon’s piano after the two had a deep conversation about animal cruelty. But he also admitted that the artwork is a metaphor for social outcasts in the world today.

Lionell Thomas (right) from icecreamsongs.com plays the trumpet for a visitor who decided to perform an impromptu dance on Monday, Oct. 4, 2021 in Venice Beach, Calif.  Photo by Shannon Carter.

Harry Perry, an American musician, performs tracks from his latest album, "Video Commander," on Monday, Oct. 4, 2021, in Venice Beach, Calif. In between sets, Perry attempts to sell CDs and other merchandise to visiting tourists. Photo by Shannon Carter.

Perry, who’s known for playing an electric guitar on roller skates, has been performing in Venice since 1974.

Music is a significant element of the boardwalk. All genres of music can be heard blaring from all directions. On Saturday, Nov. 13, 2021, a group of angsty youths setup their instruments and began moshing to hardcore music. Photo by Shannon Carter.

“I’ve been coming to Venice forever, it’s like a second home, these are my people,” said aspiring rapper, Tony Mezcal from Culver City. Mezcal visited the boardwalk that day to visit one of the marijuana dispensaries. Photo taken on Sunday, Oct. 10, 2021, in Venice Beach, Calif., by Shannon Carter.

John, the clown, takes a rest on the Venice Beach boardwalk on Sunday, Dec. 12, 2021, with his balloon pump in hand. Much of John’s back story is unknown; however, he has been making balloons and performing as a boardwalk clown at Venice Beach since 2007. Photo by Shannon Carter.

Leon, a 7-year-old mutt, stands upon a special seat that his owner Jaime made for his tricycle. “Leon likes to drive the bike,” Jaime said. Photo taken on Saturday Oct. 10, 2021 in Venice Beach, Calif., by Shannon Carter.

It's not uncommon to see stylish dogs on the boardwalk. Winston, a terrier mix, watches attentively at a flock of seagulls that landed on the beach. Photo taken on Sunday, Oct. 10, 2021, in Venice Beach, Calif., by Shannon Carter.

A local artist created a wood cutout of a woman with a parrot's head and placed the art piece in the sand for visitors to admire its eccentric details. Photo taken on Saturday, Nov. 13, 2021, in Venice Beach, Calif., by Shannon Carter.

As the sun sets, many visitors tend to move off the boardwalk and onto the sand. The sound of the beach and the sound of the nearby drum circle is a perfect way to end off the day in Venice Beach. Photo taken on  Monday, Oct. 4, 2021, in Venice Beach, Calif., by Shannon Carter.

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Blog 10: Reflections on Portfolios

A photographer's portfolio should showcase their best work. That is why my portfolio is currently under construction as I figure out my photographic voice. The collection I've built includes thousands of photos from different time periods and locations. I am currently in the process of distinguishing which photos best describe me as a photographer.

According to Chapnick's 7th chapter, a photographer's portfolio should show their growth and development. He also said that a photographer's portfolio should be a cumulative body of work that reflects the best of that person's career.

When editing a portfolio, the photographer needs to distinguish between the best of their photos. Otherwise, it will come off as if the photographer cannot differentiate between mediocre photos and outstanding images. Chapnick suggests that sequencing the pictures in the proper order will have the most significant impact. It's essential to put your strongest photos first to grab the editor's attention. Details are important when putting a portfolio together. Chapnick said that if the portfolio shows colors, we should try to rearrange the photos based on colors that compliment each other, so they don't become redundant.

My current process for my portfolio that is in progress is to categorize the photos I take and evaluate if it looks cohesive with the rest of the images within the folder. I tend to gravitate towards street photography, candid portraits, and landscapes. The majority of my work includes these styles. I want my portfolio to show the passion I have for these photography styles.

For the working photographer, they should include images from their work assignments. Chapnick said that this would show that a photographer can fulfill a publication's requirements. He also noted that personal projects should be included in their portfolio. But he suggests that this should happen after the photographer works in the field and has improved their overall technique. Also, a portfolio should be catered to the type of publication we are applying for; therefore, we should rearrange and change our portfolio when applying to different publications.

This is an area that I need to work on. I do not have a range of photos that show I am versatile. So if I were to apply to a publication as a staff photographer today, my portfolio would be driven by creative elements instead of the traditional, photojournalistic images.

According to the chapter, editors want to see the following aspects within a portfolio: neatness, organization, consistency with photo sizes, variety of content, and an assignment that is a personal favorite.

In Kobre's 18th chapter, the author provides advice from industry experts on how to jumpstart one's career. One suggestion that I liked is that photographers should try to find a niche and own it; this may be done by finding local stories and following them even after the story has been reported.

Kobre's chapter states that emerging photographers usually get their foot in the door through internships. Jim McNay says that spending multiple weeks shooting 2 to 5 assignments a day for an internship is a great way to give photographers real-life experience.  Hiring editors want to know that a photographer can meet a deadline and produce pictures regularly. Some internships will not be paid, but the amount of experience and opportunities that one can gain from a job assignment like this can help propel their career. Kobre suggests that if internships aren't available, we should find a mentor in the business to learn from and shadow.

Photojournalists make a living by being staff photographers or freelancers. A staff job provides security and a regular paycheck; however, these positions are rare in the industry. But the real advantage is that it allows the photographer to spend their time being creative with their work instead of trying to sell their business/services.

The book suggests that there is no single way to find a photojournalism job within the industry. Jobs can be found through search engines, job boards, social media, etc.

Freelance photography allows a person to be self-employed and create their own schedule. However, there are myths behind this concept. It will require selling yourself to different clients with different requirements. It will require people to master, manage, and market their business skills. The chapter warns that we should be prepared to live on a tight budget if we choose to go into freelance photography.

Workshops are an excellent way to continue one's educational growth within the field of photography. It allows photographers to learn under industry experts, and it allows for networking. Chapnick also discusses how photographic contests and awards are significant achievements that add to one's reputation and professional advancement.

Chapnick dedicated a whole chapter to grants that are available to photographers.

After reading through the grants and looking online, I am interested in applying to the following:

NEA/Visual Arts Fellowships as this is a prestigious organization that has been supporting the arts for decades. The second grant would be The Mother Jones Photography Awards, which has an International Fund for Documentary photography. As I looked through the website, I found that this publication features talented photographers worldwide. Winning a grant or being featured in this publication would be an incredible accomplishment.

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the Venice Beach Archives

Meet Michael Hall, whose stage name is Jah Faith.

Originally from Trinidad and Tobago, Jah Faith is known as one of Venice Beach’s most notable reggae performers. 

He is known for his 2007 song called “Bun a One” and his residency at the the Dub Club.

Outside of his music career, Jah Faith is known to stroll down the Venice boardwalk on his electric bike.

He’s been living in Venice for the past 16 years.

Everywhere he goes he is recognized by locals that are fans of his music.

As he strolls the boardwalk he meets up with friends and talks about reggae music and Venice Beach.

One of his close buddies is Captain (above). On occasion the two will take evening boat trips out to sea. 

Jah Faith is passionate about his faith in God, his reggae career and his love for cannabis.

It’s not strange for Jah Faith to breakout his stash and rolling papers to light one up.

He even has his own line of Hemp rolling papers named after his first hit “Bun-A-One.”

As I continue on with this project, I will meet with Jah Faith a few more times before the end of the semester. 

My plan is to capture photos of him performing/singing and doing more day to day activities. I hope this will allow me to expand on my semester project.

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Blog 9: the legal issues of photography

In 2013, the Chelsea Gallery held an exhibit featuring photographer Arne Svenson’s “The Neighbors.” The exhibition featured candid photos of New York residents in their luxury apartments. Svenson secretly took the photos from across the street from the apartments with a telephoto lens. The images didn’t feature full faces but showed people participating in personal activities such as cleaning, sleeping, and carrying their kids to bed.

According to Kobre’s 16th chapter, taking photos in privately owned places is legal if the photographer doesn’t go on to a personal property. Photographers are allowed to take photos of individuals on their porch or even inside a person’s house because anything from the street that is seen is considered “public view.” The only restriction from the courts is that a photographer should not go out of their way to capture the photo, like climbing a tree to gain a vantage point.

At the time, Svenson said in a press release, “[My subjects] are performing behind a transparent scrim on a stage of their own creation with the curtain raised high. ‘The Neighbors’ don’t know they are being photographed; I carefully shoot from the shadows of my home into theirs.”

Many of the subjects featured in Svenson’s exhibit were alarmed and angered because they felt as though their privacy was compromised. Some of the subjects took the case to court through the New York Supreme Court, stating that Svenson took their photos without their consent.

The Supreme Court ruled in favor of Svenson, stating that the photographs were protected under the First Amendment and were considered a form of art.

Kobre encourages photographers to proceed with caution when photographing subjects candidly in their environment.

The real debate is whether photographers feel morally comfortable with actions such as these or not. Some may argue that taking photographs of people in public places is an invasion of privacy and equivalent to Svenson’s actions. As a street photographer, I do not agree. If you’re in public view, I personally think everyone is fair game to have their image captured. It’s just always best to be considerate and use your better judgment.

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Blog 8: The Philosophical Photographer

I'm currently on the path to figuring out my role as a photographer. However, my approach when taking photographs is to be the observer or a witness. I watch and observe and find something that intrigues me. 

I try to be as objective as possible when taking photographs, and I never disturb the scene to capture the perfect picture. I try to make the subject feel comfortable by building a rapport with them and allowing them to be a part of the creative process. 

My photography style attempts to capture life as it is and the people that make up this world.

When I go out to shoot, there is a difference between the photos that I take from a distance and the photos that are up close. As photographers, when we get close to the subject, we bring the viewer into the picture. When the photo is further away, the viewer feels like an observer, and when the photo is in close range, its as if the viewer is right there in the action. 

As a rule of thumb, I try to think carefully about composition before I click the shutter. If I want to capture the whole scene, I tend to be further away; if I want to capture a particular element within the scene, I force myself to get closer. Chapnick says, "getting close is not easy, but it's worth the effort," and I tend to agree with him on this.

I agree with Chapnick that black and white offers a different nuance to photographs. In my opinion, when the color is stripped away from a photograph, it removes all distractions and allows you to see the nuances of the subject, composition, and lighting. 

In my own experience, when I sit down to edit my photos, my goal is to read the image and determine the message that I'm trying to convey within the image. Once I figure out the photograph's message, I decide whether to keep it in color or not. 

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Venice Visual: Take 2

As I continue with the semester project of documenting the Venice Beach boardwalk, I am trying to tell a story through a series of odd images that encompass the eccentricity of the landmark.

This particular visit is one of many trips that I will take to find individuals, objects, and artifacts that intrigue the viewer.

My approach is to make field visits to the site, connect with individuals and hear about their experiences at Venice.

The goal is to show a visual depiction of the boardwalk through the eyes of the people that visit there, work there, and live there.

I met Michael (above) on a trip to the boardwalk. He is a reggae artist that performs in the city on the weekends. He said he tries to make it to the boardwalk regularly to walk his dog Papa. 

The obstacles and challenges that I have faced so far are that I still haven’t found a substantial source that can speak to their experiences. I’ve met people here and there, but not someone who can really speak to the experience of Venice. 

I am in the process of reaching out to different artists in hopes of meeting with and hanging out with them for a day or two and documenting their lives in Venice.

Another challenge that I have is that I am still trying to find a vantage point on the boardwalk that is high enough to get a 180-degree angle of the boardwalk. I’ve been scouting buildings to see if I can gain access to a top floor in order to take a picture. 

So my goals are to find artists who would talk about their experience and see different angles of the boardwalk.

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Blog 7: War Photography

War photography has been used over the decades to communicate the conflicts around the world visually. It shows us the triumph and atrocities that happen to citizens, soldiers, towns, and countries. The purpose of war photography is to bring back images that speak to the realities and truths of war.

War photographers put their lives on the line to capture these realities and have the ability to shape and influence the way we interpret war. The photographer's lens somewhat frames our perspectives of war and conflict.

Not only is the job dangerous, but it requires the photographer to travel to distant countries, deal with high-stress situations and survive on their instincts.

Nowadays, war journalists and photographers have more access to equipment and technology, which allows people worldwide to have real-time access to what is happening.

Chapnick describes the art of war photography and how important it is that photographers have "mental ammunition" to deal with the sights and sounds of war. He also states that a photographer needs to be in the right place at the right time to get out of the war zone safely with the images intact. "Intelligence, caution, planning" is essential to their survival.

In the “Truth Needs No Ally,” Chapnick gives countless testimonies of photographers who experienced close encounters or were severely affected by their assignments abroad.

Chapnick gives a list of survival techniques that are recommended when handling war photography. He suggests ideas such as speaking the language or having a local that can help guide the photographer through a foreign land. One should also be physically fit to protect themselves, be emotionally stable, talk oneself out of a situation, and have enough life-saving equipment resources that can help one survive. Lastly, he suggests studying the country and its history to know the social context, traditions, and cultures. 

Lynsey Addario reflects this last point well in chapter 4 of "You, American, Are Not Welcome Here Anymore." She describes a story of her time in the Pakistani city of Peshawar right after the 9/11 attack. 

In the chapter, she tells us how she used her knowledge of the culture to gain access to the most dangerous places with people who were anti-American. She spoke with Pakistani women that were proud of the 9/11 attacks on America and did not show remorse about the tragedies involved. Addario wanted to shed light on these women's lives by showing their humanity despite their violent views. She said she wanted to show people what these women's lives were like outside of religious zealousness. 

As an American photographer in Pakistan, Addario had to navigate the culture to escape dangers. To thwart these challenges, she had to change her clothes and demeanor just to be convincing enough to escape.

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Blog 6: Seeing, Time, Perceptiveness and Creativity

Chapter 23 of Chapnick's "The Truth Needs No Ally" discusses the different approaches and the necessary mindset that a photographer needs to create a visual depiction of the world. 

Chapnick tells us that in order to take amazing pictures, we have to see the world as a whole and not in its individual parts. He gives an example of how we can observe an object from every angle to determine the best vantage point that would reveal the subject in its entirety. He goes on to explain that the process of capturing a great image is a time-consuming activity that requires contemplation and thorough examination.

If we wait and watch, we will eventually find that decisive moment that doesn't happen every day and allows us to capture something magnificent. As photographers, we must practice the act of watching and waiting because this will alter our ability to see the scene as a whole.

While working on the semester project for this class, I have visited Venice numerous times to observe it across different days and times. Sometimes I walk back and forth across the boardwalk, people watching and waiting for the right moment. Other times I will sit in one spot and watch people walk by. Through watching and waiting, sometimes, I have been able to find that right moment. 

There was one instance where I was walking by and saw a homeless man that looked like he was in distress and was being comforted by a friend. This scene intrigued me, so I stood by and watched and waited. I began to click the shutter in order to capture what I was seeing at that time.

After about 10 minutes, I decided to move on and continued to walk down the boardwalk. 

Roughly an hour later I came back to the same location with the homeless gentleman. This time he was by himself, writing a note on a piece of cardboard. I continued to watch him.

 I stood there for another 15 minutes or so until he finally decided to get up and grab his bike. 

Once grabbed his bike I saw that he had an American flag attached to it. I waited for the moment to capture this final photo. I found the photo somewhat symbolic.

Chapnick also discusses the need for photographers to be creative in their work. He describes creativity as the originality of thought.  He says that creativity can be found in any line of work, even though most creative photographers are not born that way. 

I like this particular section because he argues that most people believe that creativity is hereditary. This is something that I have felt most of my life. When I was younger, I was able to tap into creative energy regularly. I always had plenty of ideas, passions, and excitement about creating art that spoke to me. As I grew older, I noticed that my analytical and practical side began to take over. 

Chapnick argues that creativity can be developed over many years and "often parallels an individual's intellectual and artistic growth." Creativity is something that cannot be forced and cannot be developed through talking about it. Reading this particular section made me realize that creativity is nurtured and develops over time. Creativity happens through hard work and exploring alternatives of seeing the subject from different perspectives. 

I’m going to use these principles as my artistic focus going forward. Through using these techniques, I hope that I will be able to capture the collection of images that define my artistic style while resonating with a particular audience.

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Blog 5:  Joseph Rodriguez

Social documentary photographer Joseph Rodriguez was born in 1951 in Brooklyn. 

He spent most of his 20s and 30s working as a taxi driver and didn’t into photography until much later. Working as a taxi driver gave Rodriguez a unique knowledge and perspective of New York and allowed him to tell stories of the unknown characters of the city. 

Rodriguez’s first photographs were that of trees and buildings because he said he was afraid of people. After he warmed up a bit, he began taking photos of his passengers. 

He would shoot various cab riders such as families, couples, and BDSM sex club members. He would also ride around in his cab and take photos out of the window of whatever he found interesting.

Rodriguez studied at the School of Visual Arts, New York City Technical College, and the International Center of Photography. It was at the International Center of Photography where he met photographer Mary Ellen Mark. She pushed him to take his photography to the next level.

“I continue to tell stories that have had an effect on my life so that we can diminish this distance and develop a better understanding.” - Joseph Rodriguez.

While attending the International Center of Photography, Rodriguez got involved in a class project on Spanish Harlem. Years later, he developed this project into a photo essay. 

He gained moderate attention after documenting his environment of the Latin enclave of upper Manhattan, which is called “El Barrio.” According to Chapnick, Joe Rodriguez recognized his roots as the source of his inspiration to display the dynamism of the Latino community of East Harlem.

He captured the life of the Latino community through photographing the diverse people that live there, such as drug addicts and priests. Chapnick said he introduced Rodriguez to the director at National Geographic, who was impressed with his work. This ultimately led to a multi-page photo essay feature in the magazine. 

Rodriguez went on to document gangs in Los Angeles which was considered a significant risk to him. But because of his background of growing up in Harlem, he built a rapport with his subjects. 

Throughout the years, Rodriguez has photographed the aftermath of Hurricane Katrina and the struggle of immigrants traveling to America, along with many other projects. 

Rodriguez has been featured in many publications such as The New York Times Magazine, GQ, Newsweek, and Esquire. His work has been featured in many different exhibits around the world. 

He currently teaches at the International Center of Photography and New York University.

“Joe Rodriguez, like many other photographers who have opened the doors to photojournalism, did it by exploring the world with which he was most familiar. You may succeed just as well by opening your own back door.”- Howard Chapnick in the “Truth Needs No Ally.”

This resonated with me because I want to delve into and explore this type of photography. There is something exciting and raw about the concept of capturing photos that reflect the world around me. In my opinion, documentary-style photography breaks more ground than any type of photography, and these are the types of stories that I want to tell.

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Blog: MultiMedia Project

For the multimedia assignment, I connected my with semester project of documenting the boardwalk at Venice Beach. Over the past month, I have visited the location a few times to take photos, capture video, and talk to a few people that frequent the boardwalk. 

The idea of the video was to take an outsider’s perspective and document life on the boardwalk. The multimedia project includes both video, audio, and still images.

             Link to the project can be found here

 In Kobre's thirteenth chapter, he discusses how photographers can use video for visual storytelling purposes. At this time, few journalists are skilled in all aspects of reporting, shooting, editing, and sound gathering. The book states that it is essential that photojournalists stay on top of technological advancements and adjust to industry standards.

For the project, I used a DSLR camera to capture still images and I used my iPhone to capture the video and audio. 

In retrospect, I would do a few things differently with this particular assignment. The first thing I would change is how I filmed the footage at my location. I used my iPhone and shot the video in portrait, which changed the aspect ratio when I went to go edit the video. Therefore, I changed the video’s aspect ratio from 9:16 at 1080 x 1920 pixels to a 1:1 ratio at 1080 x 1080 pixels and with that, the quality of the video diminished some. Next time, I will shoot in landscape mode on my phone so that I do not have to compromise the image quality during the editing process.

The goal of the video was to use the natural sounds of the boardwalk to be the backdrop of the project. My videos captured the sound of the beach and the air coming from the ocean. It captured the sounds of people walking, talking, riding bikes, and skateboards. Lastly, the video captures the sound of music that comes from local shops and bystanders. 

Kobre’s twelfth chapter deals with sound and the various ways that we can control and manage sound. He offers many tools that photographers can use to capture sounds such as having a mic for every occasion. Kobre discusses the use of smartphones when recording video but states that the best way to capture quality audio with a smartphone is to use an external mic while listening to the sound through a pair of headphones. 

This is the second aspect that I would change in the future. I would like to invest in an external mic that connects to my smartphone so that I can control the sound that is coming into the mic. During the editing of this project, I realized how much ambient sound can be captured on a simple iPhone mic. If I had an external mic I could have avoided some of the sound coming from the ocean air and some of the people talking in the background, because this can be distracting at times. 

I also noticed that I ran into sound issues when recording one of the artists on the boardwalk named Harry Perry. He is a soft-spoken gentleman that sings at a lower sound frequency than the electric guitar that he plays. Therefore, the sound of his guitar coming from his amp, was louder than his actual singing voice. An external mic would have been ideal in this situation so I could manipulate the sound to have a balance between the guitar and the vocals. 

Visual storytelling requires the viewer to see what is happening in real-time instead of telling them through text, captions, or sound. That is something that I tried to create in my video is to show a visual of what this location is like on Saturday afternoon.

Kobre’s video chapter reviews a documentary called "La Revolution Du Rose" and discusses the series of scenes that tell the story. Kobre breaks down the opening shot and the sequence scenes that follow before the video enters the primary interview. Most documentaries are made with six basic shots: wide shot, medium shot, close-up shot, point of view shot, reverse shot, and reaction shot. As we follow the subject, we should try to capture all six shots for each new action. 

With a little bit more time, I would have liked to create more scenes that followed this six-shot setup. I believe my video would benefit from different angles and more close-up shots.

Kobre states it's essential to plan the shot list and sequence ahead of time to build the story. Because I didn’t know what I was going to find at Venice that day, I did not have a storyboard of shots, so my planning efforts were pretty limited.

Going forward I would like to adopt a plan-ahead style so that I can avoid editing headaches when it comes to post-production and so that I can set up the workflow better.

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Dazed & Confused in Venice Beach: a personal project

Through photographic documentation of the Venice Beach boardwalk, I am trying to accomplish telling a story through a series of odd images that encompass the eccentricity of the landmark.

Venice Beach has always been odd to me, but it is the type of place that I adore.

This particular visit is one of many trips that I will take in order to find individuals, objects, and artifacts that intrigue the viewer.

I met and talked with Harry Perry, an American musician who's known for playing the electric guitar on roller skates at the Venice Beach Boardwalk. Perry has been a Venice Beach street performer since 1974. Perry has also appeared in different movies and television shows throughout his career, including “White Men Can’t Jump” and “CSI: Crime Scene Investigation.”

Through speaking with Harry Perry, I found out that he is still active within the business yet doesn’t ride around on his roller skates anymore because of some issues with his ankles.

Perry is currently promoting his latest album entitled “Video Commander,” and selling his CDs on the boardwalk.

A challenge that I faced was the ability to approach random strangers and strike up a conversation with them in order to make them feel comfortable. Some individuals are receptive to the idea of having their photos taken, while others declined to let me take their photos.

It took time to work up the courage to talk to individuals. There were moments where I just sat in one place while I observed everything that was going on around me.

My second obstacle is ensuring that I can tell a cohesive story through these series of photos as it may not make sense to some viewers.

Upon my next visit, I plan to engage a few more artists on the boardwalk to learn more about them and their craft. My goal is to gain their trust and confidence so that they will allow me to document them. I hope I can find someone interesting who has a great story to tell.

I also want to challenge my creative skills and take a variety of photos that include close-ups, medium, and wide shots.

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Blog 4: Ethics

As photojournalists we have an important duty to society, to reflect an honest and accurate portrayal of reality.

As Chapnick writes, we as writers, photographers and journalists have the power to “elevate and destroy.”

In 2006, Reuters retracted a photo by Lebanese freelance photographer Adnan Hajj, stating that the image was electronically altered.

The original caption read: “Smoke billows from burning buildings destroyed during an overnight Israeli air raid on Beirut’s suburbs. August 5, 2006. Many buildings were flattened during the attack.”

The published picture shows thick, black smoke rising over buildings in Beirut, Lebanon. However, in the original  image, there is less smoke and intensity in the photo.

According to a New York Times article, "Mr. Hajj told Reuters he was merely trying to remove a speck of dust and fix the lighting in the photos, a source said. Several bloggers have contended that Mr. Hajj was driven by a political agenda, critical of Israel."

Is there ever a good reason to alter a journalistic photograph? No.

According to Chapnick, the news should act as a witness to history .

Based on the captions and the photo, the viewer may believe that this was a tragic incident that killed hundreds if not thousands of people. This shows how impactful a caption can be on public perception.

Additionally, because photo alterations are less detectable these days, it is the responsibility of others within photojournalism to set the standard and call out manipulation.

Chapnick states that not only do we have an obligation to society but we also have an obligation to do right by the subject. Through Hajj’s manipulation of the photos, he’s pushing aside what is good for the public and is framing the narrative through his images and captions.

After the photo was distributed to different news outlets around the world, Reuters immediately fired Hajj and withdrew all of his photographs from its database after it was discovered that he had manipulated a second photo of an Israeli jet releasing three flares when the original photo showed only one flare.

Reuters response to this controversy was spot on. As Chapnick states in the chapter, we have to raise our standards in order to enhance our credibility as journalists.

Other publications around the world have tightened their procedures to include a zero tolerance policy if a photographer is caught manipulating a photo.

This sort of photo manipulation is similar to the points that Errol Morris made in his blog, "It All Started With a Mouse." The blog was about war and photography, and conversation around the sheer number of images of child’s toys amid the ruins of war.

Morris wanted to understand why there were so many similar photographs of children’s toys among the rubble. Were photographers creating these images to create a juxtaposition of war and humanity, specifically that children were dying at the hands of war.  

Errol makes a crucial point, “is the crime creating an image — even if it was produced ethically — that leads the viewer to a controversial conclusion.”

Chapnick states in chapter 21 that a photographers very presence at a scene automatically alters an event. Because people, who are the subject of the photo, tend to react differently when they know they are being photographed.

Morris examined the use of photo captioning and how these can frame public reception. Morris’ conversation with photographer Ben Curtis discusses different kinds of framing and how it can alter the content of a photograph.

Morris’ blog points out that even when a photo is not manipulated or altered through photoshop, it will be the captions that provide the accuracy for the image. Because pictures can be subjective and provoke different responses and interpretations, a caption will provide the accurate context of the photo, without that it completely distorts the photo’s meaning.

Morris brings up a few questions in his blog that are valid to reflect on: “A photographer makes the decision to take a picture with a Mickey Mouse toy in the foreground. Is that a crime? Is it a crime if he found the toy and didn’t place it? Is it unacceptable because it suggests that children were killed?”

Photographs are subjective, so in my opinion Curtis did not do anything wrong by finding the children’s toy among the destruction and taking a picture.

But some individuals do not agree with this point and think that photographs and captions should not leave room for interpretation.

“The problem is not that the photograph has been manipulated, but that we have been manipulated by the photograph. Photoshop is not the culprit. It is the intention to deceive,” said Morris.

Morris’ blog points out that the only way to ensure images are produced ethically is to train photographers to understand and upload those ethics.

And Chapnick confirms this idea by stating that journalists should strive for the highest ethical standards that fits them personally. We should all choose what standards are and live according to them.

A picture by itself doesn’t lie, it is the people behind the photos that have the potential to lie. As photographers we should do our best to photograph things as they are not how we would like them to be.

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Blog 3: the Photographic Essays

The photographic essay ties together a sequence of pictures to tell a story or to convey a single theme. In the 11th chapter of his book, Kobre discusses the different approaches that a photographer can use when developing a story idea. One of these approaches is the documentary reporting method, which is the style of photography that I will use for my photo story.

The documentary approach captures a real moment which usually conveys a message about a particular person, place, thing or idea.  

The photo story that has inspired is Bruce Davidson’s “Brooklyn Gang,” which focuses on a group of teenage gang members living in New York City during the 50’s. Davidson spent several months with this group of outliers and documented their day to day lives.

The correlation between the subjects of Davidson’s photo story and the 1950s is very interesting to me. Back then, these rebellious youths were considered social outcasts, so for Davidson to document this was considered taboo. Through the use of photography, Davidson told the story of a group of troubled youths who were products of a broken family, and shortly thereafter had become involved in money trouble and drugs.

Davidson’s social commentary about a group of Italian-Catholic youths in Brooklyn shed more light on a little known demographic of American society.

Davidson’s candid photos within this series is what has inspired me the most. I love the way a photo looks when the subject is not aware. As viewers we get to see them as their true selves, without reservation and concern for the camera. These unguarded moments that Davidson captured are visually stunning.

I also love the way that Davidson incorporates the city of Brooklyn as another important character within this photo story. The connection between the subject and their environment is something that I hope to capture within m photo story. 

As Kobre states in the 11th chapter, a photo story can sometimes come from the photographer’s own experience or their personal connection to the story. According to Davidson he found out about this group of individuals in a local newspaper and made initial contact with them through a social worker.

“I met a group of teenagers called the Jokers. I was 25 and they were about 16. I could easily have been taken for one of them. In time they allowed me to witness their fear, depression and anger. I soon realised that I, too, was feeling their pain. In staying close to them, I uncovered my own feelings of failure, frustration and rage.” -Bruce Davidson.

To read about Davidson’s connection to the story resonates with me personally. These are the types of stories that I want to tell through the medium of photography.

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the Environmental Portrait

From an early age, Samantha Rosenberg remembers having a love for music and a passion for singing. At the age of four years old, she began singing random melodies of tunes that she made up. She remembers dancing and performing around her house to entertain anyone that would listen. 

These early years influenced Rosenberg in an impactful way. She is currently playing the roles of Jennie Hildebrand and Mrs. Buchanan in CSUN Opera's production of "Street Scene" by Kurt Weill. The performance will be held at the outdoor lawn of Manzanita Hall from November 4th to November 7th.

Rosenberg, a senior at California State University, Northridge grew up in the San Fernando Valley and has always had a connection with the performing arts. 

About four years ago, she began classical voice training, which is an approach that gives singers the tools they need to perform classical standards by learning the theory, standards and the style of the music. During this time, she found mentors with two inspiring voice teachers that encouraged her to try out for the opera. She credits this for motivating and inspiring her to be brave and bold. 

“They influenced me to audition and I’m so grateful to have been cast,” Rosenberg said. 

Samantha Rosenberg practices her solo in the music studio of Cyprus Hall on Friday, Sept. 17, 2021 in Northridge, Calif. Photo by: Shannon Carter

It’s no wonder that she loves to sing and perform. Her favorite hobbies are taking ballet and pointe classes because she finds these types of dance beautiful and inspiring. Just like classical music, ballet leaves room for interpretation, which has the power to touch people across the world.

Rosenberg, who works part-time at a pre-school and as a special needs home-health aid, is currently majoring in Music Therapy at CSUN. Her goal is to become a music therapist that works with individuals with special needs. She said she spent most of her education inside of special education classes, until she tested out in high school. 

Samantha Rosenberg sits in the classroom of Manzanita Hall on Tuesday, Sept. 21, 2021 in Northridge, Calif. Photo by: Shannon Carter

The teachers that guided her during her upbringing, inspired her in incredible ways. She saw first-hand how these educators changed the lives of her and her classmates.Rosenberg said that special education teachers are both versatile and empathetic. 

She hopes to influence future generations as a music therapist.

“I have an inherent passion for working with people of many different cognitive and physical abilities,” Rosenberg said.

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BLOG 2: Reflections on the Photojournalist and the Portrait

Portraiture photography is an artistic method that tells a person’s story. This style of photography captures a person’s physical appearance and their overall personality.

For the latest assignment, I found a cast member from CSUN’s opera production, to be the subject of my photo. Samantha Rosenberg loves to sing, so I wanted to capture my subject singing in a studio. I was able to work with her to provide the type of facial expressions and hand movements needed, in order to bring life to the photo.

As Howard Chapnick recollects in “The Truth Needs No Ally,” portraiture is a form of a visual biography. A portrait has the ability to depict not only the physical characteristics of a person but their psychological characteristics as well.

In “Photojournalism: The Professional’s Approach,” Kenneth Kobre states that a photographer must go beyond taking just any photo of their subject, but they need to attempt to reveal their inner self. This can be done by going beyond facial expressions and allowing for more of the subject’s body language to come through the photo.

While I was taking shots of my subject, she was singing and practicing her lines for the opera. The sound of her voice carried throughout the room which sounded very angelic. I wanted to capture this softness and beauty in the photograph.

Samantha Rosenberg practices her solo in the music studio of Cyprus Hall on Friday, Sept. 17, 2021 in Northridge, Calif. Photo by: Shannon Carter

I tried to capture some of it, but the background of the music studio was a bit busy. I think this may distract from the moment that I was trying to capture. 

Chapnick describes the types of portraits that you can expect to see in a newspaper or magazine. One type he points out is called a “significant portrait,” which depicts a person who has achieved an accomplishment of some sort. These portraits show certain characteristics and elements within the photograph that reflect the person’s significance to their particular industry. The type of portrait that Chapnick describes here sounds similar to an environmental photo as it combines more complex elements into the portrait.

Chapnick mentions how important it is that the photographer is able to build rapport with their subject. “The ability to communicate with the subject increases as the transaction between the photographer and the subject takes place,” (Chapnick, 273)

While I was on location shooting the environmental photo, I tried to engage my subject, Sam Rosenberg, as much as possible to allow her to get comfortable. As I set up the camera and adjusted its settings, I learned more about her. The conversation between the two of us flowed. The few minutes that I took to patiently set up my equipment and learn more about her helped to ease the situation, where we could both relax. 

Samantha Rosenberg sits in the classroom of Manzanita Hall on Tuesday, Sept. 21, 2021 in Northridge, Calif. Photo by: Shannon Carter

I think the results are fair. If I could go back and change something I would change the background of the first portrait, because I felt like it was too busy and caused a distraction. Overall, the experience was helpful and insightful.

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Weekly Reflection 1

The role of a photojournalist is to create exciting pictures about an exciting subject.

Sometimes a simple idea is better than a complicated one. It's what we do with that simple idea that takes it from being good to great.

In “ Truth Needs No Ally,” Howard Chapnick suggests that each photojournalist should carry around a book of ideas to jot down when necessary. Secondly, looking towards newspapers, radio, and evening news is a good way to generate ideas as well.

Ideas are the most important thing that a freelance photographer can generate because this is a way to make yourself salable to editors. Photojournalistic ideas must be visually translatable.

Some ideas have plenty of visual elements while others are more difficult to interpret, because the image can be subjective to the photographer. Sometimes I look at my own photography and wonder if my images are too subjective and the audience may not understand my vision.

Chapnick suggests that a photographer should do their homework and research an idea fully before presenting it to their editor or attempting to begin the project. The pitch should fully communicate the idea, plus the who, what, when, where and how.

When pitching a story idea to the editor, we should also include a note about why this particular piece should be published. Using this technique is a good way of convincing an editor as to why they need to run this story. Editors need to be convinced that a photojournalist is able to translate the idea into a photographic image.

Many photojournalists work on personal projects that require self-motivation. These projects are close to the photographer and sometimes take many years to complete. Chapnick suggests that if a photographer wants to reach the next level of their career, they should take on a personal photo project as it will enhance their skill, grant them access to editors, and improve their overall brand.  

As photojournalists, once we get to know ourselves we will be able to develop our photographic styles, because it will be based on the interests that we hold dear. Sometimes a style of pictures can be defined based on the subject matter and the overall vision of the photographer.

The book uses examples of the photographic style of Diane Arbus and W. Eugene Smith. Two photographers that have very unique styles.

I personally found it interesting to read Chapnick’s comments on American photojournalism and how it has become “occupied with capturing moments.” He said that many people misunderstand Henri Cartier-Bresson’s theory of the decisive moment. Chapnick said that to Cartier-Bresson, the decisive moment meant when “form, design, composition, light, elements, and events,” come together in one cohesive moment. In the chapter, Chapnick states that there is more to photography than capturing the decisive moments, and we as photographers should evaluate “how we photograph, but what we photograph.”