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Segregated Water Fountains Analysis

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Segregated Water Fountains Analysis
The second photograph is Elliot Erwitt’s photograph named ‘Segregated Water Fountains’. This photograph was took in 1950 in North Carolina, USA and this particular photograph was never meant to symbolise segregation in this era he just liked the effect that the juxtaposition had however now this photograph represents the segregation of black and white people and the injustice of this in this period of time and how much has changed this photograph was taken.
The degrading cultural context of this photograph was never intended to be than just a simple photograph, however looking at the photograph afterwards allowed for the world to see how much society needed to change and made people question; why should black people not get the luxury that
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For example, Nick Ut photographed the devastation that occurred in Vietnam in 1972, he managed to capture many upsetting photographs throughout this process, however his most famous photograph was the Napalm Girl, which he supposedly took objectively, however it could be argued that his subconscious actually made him shoot subjectively. The main focus of this photograph is the young girl running in the centre of the photograph with no clothes on, screaming as her skin is burning, he could have just captured the young girl however, to the right of the photograph there are soldiers walking beside the young children who seem very unbothered by the situation as it’s something they all the time which adds something extra to the photograph, such as lack of care for the children. Therefore, this could be argued that Nick Ut’s decision to take this photograph may not have been completely objectively and his subconscious took over when photographing the young girl deciding to add in the soldiers to add more effect to the photograph.
The word documentary carries a weight of legality, implying what follows is almost under oath to tell us the truth, we must only submit the truth. However, this is not always the case when people’s subjectivity sways the way in which they take a photograph.
In Beaumont Newhall’s book ‘History of Photography’

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