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What most captivates my attention of the concept of visual evidence is that the photographer can capture an image that was not intended, many impacting photographs tend to have a spontaneous aspect to them that might change what the photographer was planning but at the same time might add more strength to the image due to this aspect. In 1967 a march on the pentagon occurred comprised by around 100,000 individuals protesting against the war in Vietnam. If this image was in fact taken at the moment of this occurrence who’s to say that this was planned. The photographer could have simply intended to photograph a soldier and managed to capture an astonishing image from the soldier’s reaction to the camera lens.




Although I didn’t post this for my illustration, I did take a picture of it while I was at the exhibit. I like how you stated that most impacting photographs tend to have a spontaneous impact to them. That is very true the more that I think about it. Many pictures that are spur of the moment, capturing an event as it happens makes it have an impact on the viewer.


In the reading, Sturken & Cartwright talk about images as evidence. They say that “photographic images are highly subjective cultural and social artifacts that are influenced by the range of human belief, bias an expression.” (P. 280). This image can be interpreted in many different ways depending on who’s looking at it, and also evoke different emotions. In my case, it just makes me wonder what happened to the photographer.


I agree, this is an incredibly powerful photograph. I noticed as I was leaving the Eastman House that it was hanging from the ceiling in the main hallway as well as an advertisement for the exhibition, which I think speaks volumes to its visual impact. I think this photograph embodied a lot of the ideas and rebelliousness of the 1960′s, which made it such an iconic decade. I think Ivonna hit on the image’s connection to the article very well.

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