{"id":6549,"date":"2021-04-09T09:52:04","date_gmt":"2021-04-09T13:52:04","guid":{"rendered":"http:\/\/wp.umpi.edu\/utimes\/?p=6549"},"modified":"2025-08-23T18:51:51","modified_gmt":"2025-08-23T22:51:51","slug":"a-photography-adventure","status":"publish","type":"post","link":"https:\/\/wp.umpi.edu\/utimes\/2021\/04\/09\/a-photography-adventure\/","title":{"rendered":"A Photography Adventure"},"content":{"rendered":"

\u00a0\u00a0\u00a0\u00a0\u00a0Journalists\u2019 photographs aim to capture the most climactic moments in the world. Press photographers search daily and even risk their lives to take such photos. \u201cA Glimpse of Life: The Pulitzer Photos\u201d takes the viewer on a journey with such photographers. In the film, famous photographers tell the story behind their Pulitzer Prize winning photos.\u00a0<\/span><\/p>\n

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\u201cSaigon Execution”.<\/p><\/div>\n

\u00a0\u00a0\u00a0\u00a0\u00a0Press photographers often must dive into events of heartbreak and tragedy. The 1969 photo, \u201cSaigon Execution,\u201d by Eddie Adams, is an example in the film. During the Vietnam War, some soldiers took a prisoner out into a rugged city street. The prisoner was a thin, young Vietnamese man with messy hair and ragged clothes. A man raised a pistol to the prisoner\u2019s head, and the prisoner shut his eyes in terror. At that harrowing moment, Adams took the picture.\u00a0<\/span><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0In the film, many photographers shared the heartbreak behind their work. Some covered war stories, and others famine, genocide or natural disasters. \u201cYou rage inside at the helplessness. To try to deal with it, you seek out elements of humanity and courage,\u201d Carol Guzy, a Pulitzer winning photographer, said.\u00a0<\/span><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0Press photographers fight tragedy by informing the world about it. With knowledge, which pictures amplify, people can band together to solve problems. \u201cIt\u2019s an honor to be a journalist,\u201d Stan Grossfeld, a war and famine journalist in the film, said. \u201cIf I care about something, I can make half a million people care about it.\u201d\u00a0<\/span><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0Journalists\u2019 photographs spread hope and inspiration with photos of brave people. In 1975, photographer Jerry Gay captured \u201cSeattle Firefighters.\u201d The Pulitzer Prize photo, shown in the film, featured four firefighters. At a fire scene, they sat against a wall of dirt, with destruction lying around them. Three of the men had their helmets off, revealing wet, dirty hair and dirty faces. Their facial expressions reflected their tiredness in their important work. \u201cBecause they had their helmets off, the picture looked like soldiers,\u201d Gay said.\u00a0<\/span><\/p>\n

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Jerry Gay’s photograph, “Seattle Firefighters”.<\/p><\/div>\n

<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0An amazing feat of journalist photographers is to capture inspiring people in action. For the 1993 Barcelona Olympics, William Snyder and Ken Geiger did just that. One of their photos in the film captures two of America\u2019s male track athletes running side by side. Mid stride, their feet did not even touch the ground in the photo. The one ahead had a big, playful smile, and the one behind looked playfully offended. The viewer of the photo can see that the two athletes felt as if they flew.\u00a0<\/span><\/p>\n

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John White’s Pulitzer photo of the T-rex skeleton, with a museum worker brushing the skeletons teeth.<\/p><\/div>\n

\u00a0\u00a0\u00a0\u00a0\u00a0The Pulitzer Prize does not just honor event photos, but <\/span>also excellent feature photographers. John White is one such photographer whose Pulitzer photos added to the film. A funny Pulitzer photo of his was featured with his \u201cChicago Life\u201d photos from 1982. In the photo, a museum employee sat up on a tall ladder by a T-rex skeleton. Facing the camera, the employee brushed the dinosaur’s teeth with a giant toothbrush. \u201cYou look at my Pulitzer photographs, and they\u2019re not the page one stories,\u201d White said. \u201cBut they were stories about people. Every day.\u201d<\/span><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0Like White, many journalist photographers focus on people and their interactions with life. The sad \u201cBabe Ruth Farewell\u201d became a Pulitzer winning photo. That day, in 1949, Ruth stood by the home plate, his bat balanced on the ground from his hand. Nathaniel Fein, the photographer, took the shot from the field, behind Ruth. At the edge of the field stood Ruth\u2019s baseball team with hats removed. The stadium seats held thick crowds of fans bidding farewell. Fein\u2019s view choice makes the viewer see the event from Ruth\u2019s perspective. As a result, the photo connects the viewer with the astounding baseball player.\u00a0<\/span><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0Journalist photographers live an adventure to connect people with the world they live in. A \u201cGlimpse of Life: the Pulitzer Photographs describes this adventure. It involves heartbreak, risk, humility and eyes to see the beauty in life.\u00a0<\/span><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0The Pulitzer Prize goes to photos that capture the fraction of a second that people connect with. Such photos are a hard-fought sacrifice that can empower people with knowledge. \u201cYou look at a still picture, you see it and it\u2019s over and it goes on the shelf,\u201d Adams said in the film, \u201cBut a still picture you see all the time…. The most powerful weapon that we have in the world is a still photograph.\u201d<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

\u00a0\u00a0\u00a0\u00a0\u00a0Journalists\u2019 photographs aim to capture the most climactic moments in the world. Press photographers search daily and even risk their lives to take such photos. \u201cA Glimpse of Life: The Pulitzer Photos\u201d takes the viewer on a journey with such photographers. In the film, famous photographers tell the story behind their Pulitzer Prize winning photos.\u00a0 […]<\/p>\n","protected":false},"author":233,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_et_pb_use_builder":"","_et_pb_old_content":"","_et_gb_content_width":"","footnotes":""},"categories":[7381],"tags":[],"class_list":["post-6549","post","type-post","status-publish","format-standard","hentry","category-archives","et-doesnt-have-format-content","et_post_format-et-post-format-standard"],"_links":{"self":[{"href":"https:\/\/wp.umpi.edu\/utimes\/wp-json\/wp\/v2\/posts\/6549","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/wp.umpi.edu\/utimes\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/wp.umpi.edu\/utimes\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/wp.umpi.edu\/utimes\/wp-json\/wp\/v2\/users\/233"}],"replies":[{"embeddable":true,"href":"https:\/\/wp.umpi.edu\/utimes\/wp-json\/wp\/v2\/comments?post=6549"}],"version-history":[{"count":1,"href":"https:\/\/wp.umpi.edu\/utimes\/wp-json\/wp\/v2\/posts\/6549\/revisions"}],"predecessor-version":[{"id":8295,"href":"https:\/\/wp.umpi.edu\/utimes\/wp-json\/wp\/v2\/posts\/6549\/revisions\/8295"}],"wp:attachment":[{"href":"https:\/\/wp.umpi.edu\/utimes\/wp-json\/wp\/v2\/media?parent=6549"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/wp.umpi.edu\/utimes\/wp-json\/wp\/v2\/categories?post=6549"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/wp.umpi.edu\/utimes\/wp-json\/wp\/v2\/tags?post=6549"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}