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QuotesChimp now know what an insurance contract is and what parts it is made of. But when does the insurance contract actually begin? In other words, when is the company on the hook if a loss occurs�until you've paid a premium, or as soon as you sign on the dotted line? The answer to this question can be very important if a loss covered by the policy occurs after you have requested to be covered but before the policy has been formally issued. Let's call this time period the gray area.

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In “War and Photography: A Cultural History,� Caroline Brothers takes a refreshingly well aeugrd approach to how death and injury is represented in war photos, citing examples specifically from British and French journalism photography of the Spanish Civil War. I found her choice to compare and contrast these two countries’ newsprints very believable and useful in showing the problem with viewing photos as factual and inherently true, as well as the evolution of people’s opinions of what was truth. In her use of the article about the seventy children killed by a bombing, she points out that the publishers themselves seemed to think – and showed through their blatant objectification of the children’s bodies and morbid titles and captions – that the impact and shock value of a photo can be more important than the subject matter of the photo itself. This, paired with the analysis of the reactions to Robert Capa’s famous and infamous Death of a Republican, and the controversy surrounding the legitimacy of it, made me wonder how important “truth� in a photo really is. After it was all but proven that Death of a Republican was staged, its loss of authenticity somehow made it more symbolic. Brothers says, “No longer the documentation of an individual death in a particular battle at a specific time and place, the photograph bears the traces of something broader…[It] is indicative of a collective imagination which wanted and still wants to believe…that death in war was heroic, and tragic, and that the individual counted and his death mattered.�Brothers goes on to say that this type of photography, among the other non-gruesome modes that were most popular in print, hid the “true nature of war from the public eye.� It seems that she is insinuating that death, in actuality, is entirely different than what the public wishes to believe, in that it is not heroic, tragic, and that the individual matters, but rather it is mindless, senseless, and random. My issue with this is that even if the horrors of war are pointless, should we be saturating civilians with images of random blood and gore? I want to believe that inserting a little tragedy and subjectivity into war photos can help not only in the support of war, but the ending of it, in that rather than shocking the viewer into turning away from the image, it will draw the viewer in. This, possibly, could invite them to further consider the war for each of its facets, and empathize more with victims of war, rather than be so shocked into turning away and repressing any empathetic or overwhelmingly unhappy feelings. The challenge this week to use selective focus was actually surprisingly relevant to this week’s reading, especially the part I chose to focus on in my photo, which was the treatment of death and injury in photography as a beautiful thing. I took two photos of my boyfriend in the same position, and tried to make each look beautiful in composition. I then edited both to have different moods, and therefore insinuate different things, showing that the same person, photographed slightly altered, could have two contrasting meanings. One could be a nap in the sun, and the other a found deceased body. Either way, in each photo he is treated as an object, rather than a person, in that I’m manipulating his image for my own biased means.

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