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Photo by Mary Chind, Pulitzer winner 2010
Photo by Annie Wells, Pulitzer winner 1997
Given the extraordinary turmoil in the field of photojournalism, it is perhaps a bit odd that the Pulitzer Prize given to the best “breaking news” photograph of the year is one that we have become so accustomed to–the brave male fireman/construction worker rescuing an individual (often female). For example, the 1997 winner, by Annie Wells, is not all that different than this year’s winning image, by Mary Chind. They are both dramatic and interesting photographs, and the heroism of the rescuer is extraordinary, but might this visual trope be by now a bit overused?
3 Comments
Good point - could it be that it is BECAUSE of the industry’s turmoil that we’re drawn to comfort photos [similar to comfort food]. Face it, we’re a little clingy that way.
Or maybe the industry is in turmoil in large part because we are drawn to what you call “comfort photo,” what might also be called a lack of imagination.
I think at different times both are true. I know I suffer from both in my own work and only occasionally break out. But I almost never break out when stakes are high - I go with what I know as my “A” game. Only happy accidents take me to the next level in those cases.
I suppose industry turmoil was brought on by imagination followed by innovation, followed by fear that induced a clinging to what had worked leaving imagination dormant again. Sound right?
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