Editorial, IIScPC Photos: Atanu and Soham As it was planned, IIScPC successfully organized the first week of "Introduction to Photography" workshop. The first theoretical session started with a brief outline of the history of photography, how did it all begin and evolve until today. We discussed from the first ever camera, "Camera obscura" to the present days' advanced digital single lens reflex cameras. The discussion also included the subtle relationship between photography and painting. In the latter part, the speaker, Samriddhi, enlightened us with the photographic styles of several pioneering photographers. Ansel Adams, Henri Cartier Bresson, Sebastiao Salgado and several others were in this list. Samriddhi, member of IIScPC, is explaining the history of photography in our first day of workshop. Sebastiao Salgado is on board. His works are being analyzed by our speaker Samridhi. Followed by the history of photography, our next part of the theoretical session was more focused on the technical aspect of the camera. Needless to mention that the art of photography is mostly related to capturing different light conditions. So, our speaker, Sruthi, explained the fundamental functions of a camera to control the lighting condition of a photograph. We talked about camera shutter speed, f-stop number and ISO: all three that complete the exposure triangle. We also had some interactive discussion session with our large number of audiences regarding zone systems. Sruthi is explaining more technical aspects of camera. Three important parameters of controlling light: Aperture, Shutter speed, ISO. After the Saturday's theoretical session, we were anticipating a good number of enthusiasts who will turn up for the Sunday's practice session. Amongst ourselves, we had already planned the number of groups and in charge persons of each group. We all gathered in the morning near the IISc main building. We split the number of participants in different groups in such a way that all of them can get a feel of using DSLR cameras. Each group had around 6 new photography enthusiasts and 2-3 old members to help them in understanding the features of a camera. Snaps from practical session. Our members are helping the new ones to understand the camera handling. The practical session was for about 1.30 hours in the morning from 8.30 to 10. We were excited to interact with newly interested fellows in this form of art. Equally, they were also enthralled to use DSLR cameras. For many of them, it was the first time they were handling such cameras. Although some had cameras with them, they were not very much familiar with the technical aspects of it, which they learnt in the session. Our members paid intense attention to all of them, addressed all possible queries they asked. Some other stories of practical session. We hope to meet some more photography enthusiasts in the next week's workshop. In the next week, we have planned to discuss and practice little more advanced topics in photography, primarily focusing on the compositional aspects. However, if new members wish to come from this session, they are most welcome. For that, please registrar your name in the following link: Register for "Introduction to Photography" workshop
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Editorial, IISc Pc 1941, an ever happening year in world history, witnessed dramatic socio-political changes. In the middle of the World War II, the Axis power was at their peak and was gradually stepping forward towards their goal. On the other hand, Franklin Roosevelt was starting to support the Allies. In March 1941, the US president signed the Lend-Lease Act, a US program to support the Allies with free supplies, in return for no-cost leases on army and naval bases in Allied territory during the war, as well as local supplies. In the meantime, probably as a result of the act, small-scale social turbulences were building up within the United States. Rampant public strikes, closing of factories and plants were becoming a social ritual on the other side of the Atlantic. However, sporadic activities in the US was not the central focus of photo documentation in those days. In the mainland of Europe or even in Japan, it was more dramatic. With a heavy and cumbersome large format camera, one photograph per six-seven seconds was the best possible outcome. So, the then photographers preferred to be in Europe and shoot social documentaries and journalistic works, where opportunities were diverse. Milton Brooks though, a photojournalist of The Detroit News, was not traveling out of his circle. Rather he was concentrating on the nascent chaos around the biggest Ford Motor plant in Detroit. On 3rd April 1941, the labourers of River Rouge Plant lost their patience when one of the union members was fired from the plant. Henry Ford never expected that labor turmoil could shut his 120,000-man plant down within hours. Eventually, a clash broke out between strike-breakers and unionists. Working as a journalist in the The Detroit News, Brooks was already at the hotspot. Patiently, he was looking for the right moment, as he knew, one random shot may cost him six to seven seconds to capture another one. In a mob clutter, he found one strike-breaker was arguing with a picket group. From his recollection, “He had the wrong side of the argument, and I knew there would be trouble pretty soon”. The arguing man was being pushed by the picket groups and was already been enclosed by the strikers. The club came out from one of the strikers (on the second left) and the strike-breaker leaned down to protect himself. Milton Brooks got the precious moment he was waiting for. Milton Brooks, The Detroit News Technical Details: Camera: 4 * 5 Speed Graphic Film: Kodak Lens: 127 mm Shutter and Aperture: Unknown Brooks' photograph was published in The Detroit News, and won the Pulitzer award of journalism in the next year, 1942. This was the first ever photograph to be awarded the Pulitzer. Although Brooks' work was not the first instance of photojournalism, it definitely marked an evolution of the form. Rather than graphics, human interactions got more attention in a photograph. This work of photojournalism has influenced the thought processes of future generation of photojournalists working in war zones.
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