In my post last Thursday I touched on this question: Can the distribution of too many, unfiltered images of catastrophic event reduce our sensitivity to that event? If so, this would suggest that the potential power of photography is being greatly influenced by new technologies.
People climb in through a hole in a wall to remove goods from a home supplies store in downtown Port-au-Prince.
In response to my post, I encourage you to view a photo slide show that “The New York Times” posted on Monday. “In Haiti, a Struggle Barely Begun” presents classic photojournalism of the highest caliber. It is brought to us via edge technology employed thoughtfully. The “Times” slide show interface is excellent, clean and uncluttered, featuring only images, captions and three links to related “Times” stories.
All 17 images in this picture story are stunning photographically. They employ color, design, lighting, focus, depth of field and strong angles a to draw us in.
The intelligence of the image maker behind the lens ensures that we are being drawn into something important to consider.
A woman who was pulled from the rubble is prepared for transportation to a hospital.
The intelligence of the picture editor ensures that these select 17 images tell a broad story far better than hundreds or mediocre, loosely edited images can.
The captions are brief but detailed, giving us the critical data we need to read the scene but not adding further comments.
In this photo essay we see the pairing of classic photojournalism with new communication technologies used thoughtfully in harmony. Besides giving us a unique view into the struggles of the Haitians, this slide show offers food for thought about the power of classic photojournalism.
Lined up outside the United States Embassy in Port-au-Prince, American citizens of Haitian descent hold their passports as they wait in a long line and try to leave the country.
I do not suggest that “In Haiti, a Struggle Barely Begun” is better than the “Times” interactive media that I discussed on Thursday. Frankly, my gut reaction is to say, “Yes, it is better — by a lot shot.” But then, reconsidering, I realize that I am seeing this slide show almost a week later, and the 17 images are only one drop in the bucket of the collective water that is my news experience from Haiti.
Would these 17 images be more powerful if I had seen them without the earlier barrage of lesser quality photojournalism? Are they more powerful now because I am seeing them after seeing such extensive coverage, not to mention reading daily news reports? How do they fit in to my overall Haiti news experience.
Regarding photography, I wonder how all of these questions relate to continued evolutions in photojournalism?
I have many questions and no answers regarding what is the best form of photographically covering and sharing international news. However, I do know I am glad to have seen the brilliant photography of “In Haiti, a Struggle Barely Begun.”
Mostly I am appreciative because I feel that I now have a better, more intimate sense of what is happening on the ground in Haiti. I can better see that, indeed, the struggle has just begun. The fact that I my connection to Haiti was strengthen by my viewing only 17 select images reminds me of the power of classic photojournalism.
Romain Arius washes his face in Port-au-Prince at a refugee camp near an American forward operating base set up by the 82nd Airborne Division from Fort Bragg, N.C.
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Photographer credits for “In Haiti, a Struggle Barely Begun”: Damon Winter (The New York Times), Chris Hondros (Getty Images), Win McNamee (Getty Images), Michael Appleton (for The New York Times), Ruth Fremson (The New York Times), François Morí (Associated Press), Uriel Sinai (Getty Images), Jae C. Hong (Associated Press), Ricardo Arduengo (Associated Press), Gerald Herbet (Associated Press).