SOCIAL PHOTOGRAPHY


Dorothea Lange 
(May 26, 1895 – October 11, 1965) was an American documentary photographer and photojournalist, best known for her Depression-era work for the Farm Security Administration (FSA). 
Lange's photographs humanized the consequences of the Great Depression and influenced the development of documentary photography.










Sebastião Ribeiro Salgado Júnior 

(born February 8, 1944) is a Brazilian social documentary photographer and photojournalist.
Between 2004 and 2011, Salgado worked on "Genesis," aiming at the presentation of the unblemished faces of nature and humanity. It consists of a series of photographs of landscapes and wildlife, as well as of human communities that continue to live in accordance with their ancestral traditions and cultures. This body of work is conceived as a potential path to humanity’s rediscovery of itself in nature.
He has traveled in over 120 countries for his photographic projects. Most of these have appeared in numerous press publications and books. Touring exhibitions of this work have been presented throughout the world.










Kevin Carter
Kevin Carter (13 September 1960 – 24 July 1994) was a South African photojournalist and member of the Bang-Bang Club. He was the recipient of a Pulitzer Prize for his photograph depicting the 1993 famine in Sudan. He died by suicide at the age of 33. 



Manuel Pérez Barriopedro 





Cristina García Rodero
Cristina García Rodero is a Spanish photographer and member of Magnum Photos and Agence Vu photo agencies.
Rodero was born in Puertollano, Spain, in 1949, and studied painting at Complutense University of Madrid. She has worked as a teacher.
Rodero photographs the persistence of rural traditions in modern times, such as religious rites and festivals in Spain. In Spain she is among the most celebrated documentary photographers.
Rodero joined Magnum Photos in 2005 and became a full member in 2009.







Gervasio Sánchez
Gervasio Sánchez (n. Córdoba; 29 de agosto de 1959) es un periodista y fotógrafo español.








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VISUAL METAPHOR

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A visual metaphor is the representation of a person, place, thing, or idea by means of a visual  image  that suggests a particular association or point of similarity. It's also known as pictorial metaphor and analogical juxtaposition. Examples and Observations "Studies of visual metaphors used for  rhetorical  purposes generally concentrate on advertising. A familiar example is the technique of juxtaposing a picture of a sports car . . . with the image of a panther, suggesting that the product has comparable qualities of speed, power, and endurance. A variation on this common technique is to merge elements of the car and the wild animal, creating a composite image..." Visual Metaphor in an Ad for Absolut Vodka "[The] subcategory of visual metaphor involving some violation of physical reality is a very common convention in advertising...An Absolut Vodka ad, labeled 'ABSOLUT ATTRACTION,' shows a martini glass next to a bottle of Absolut; t
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CAMERA SHOTS AND ANGLES

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CAMERA SHOTS There are many ways to frame a subject within a shot, which can range from showing their entire body to fixating on a finer detail, such as their eyes. In choosing the most fitting shot, you’ll need to bear in mind the message that you’re trying to communicate to your audience. Here are some of the most common types of shots and how you can go about using them: Establishing shot Often included at the beginning of a scene, the establishing shot helps to build ambiance and may give a nod towards the context of what’s to come. It generally comes in the form of a long shot and indicates where (and sometimes when) the scene is taking place. Full shot The full shot is just as the name implies and shows the entire body of the subject from head to toe. This shot tends to focus more on the character’s movement and gestures, rather than their state of mind. Medium shot Also known as the ¾ shot, the medium shot typically shows the subject from the knees up
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The Nineteenth Century: The Invention of Photography

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The Nineteenth Century: The Invention of Photography In 1839 a new means of visual representation was announced to a startled world: photography .  Although the medium was immediately and enthusiastically embraced by the public at large , photographers themselves spent the ensuing decades experimenting with techniques and debating the nature of this new invention.  The works in this section suggest the range of questions addressed by these earliest practitioners. Was photography best understood as an art or a science?  What subjects should photographs depict, what purpose should they serve, and what should they look like?  Should photographers work within the aesthetics established in other arts, such as painting, or explore characteristics that seemed unique to the medium?  This first generation of photographers became part scientists as they mastered a baffling array of new processes and learned how to handle their equipment and material.  Yet they also grappled wit
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