Anadolu university journal of art & design cilt / volume sayi / number aralik / december 2016 issn: 2146-7692

37
SANAT & TASARIM DERGİSİ
ÖZET
Basın fotoğrafları, bir rapor ya da dizi bağlamında büyük gruplar ya da tek tek görüntüler 
halinde, basılı ya da çevrimiçi medyada, negatiflerden baskılar, slaytlar ya da sayısal dosyalar ha-
linde yayınlanmış olarak karşımıza çıkmaktadır. Basılı görüntüler topluluğu, sürekli tekrarlanan 
ve set tanıma kültürü olarak miras kalan pozitif görüntü örnekleri ya da fotoğraf türlerini takip 
eder. Bu yüzden bu görüntüler, sadece diğer fotoğraflara ait olmayıp, aynı zamanda genellikle re-
sim gibi diğer görsel medyadan konulara da ait olabilir. Gerçi sanat ve basın fotografçılığı arasında 
sınır çizmek, artan şekilde geçirgen ve janrların ortak referansları oldukça kullanılır hale getirmiş-
tir, bir basın fotografını neyin özellikle karakterize ettiğini halen sorgulamaya değerdir. Her şeyin 
ötesinde, basın görüntüleri, bu yerde ve belli bir etki hakkında yapılması istenen, belirlenmiş bir 
konumda kaynaklanan fotograflardır. Kesin bir gösterimsel veya beğenirlilik onarın ortak nokta-
sıdır ki onlar, özel doğrulukla gerçeği yansıtır gibidirler. Bu anlamda, basın görüntüleri, deneme 
veya kanıtlamanın işlevine sahip bilgi taşıyıcılar olarak kendilerine has yayıncılık bağlamında 
kullanıırlar. 19. yy.daki tarihi resime benzer şekilde, basın görüntüleri, kapsamlı ve dikkat çekici 
olan karmaşık bir olayı görselleştirmelilerdir. Algılanabilirliklerini garanti altına almak ve destek 
amacıyla hemen hemen tüm basın görüntüleri onlara eşlik eden metin veya altyazı ihtiva ederler.
Anahtar Sözcükler: Fotoğraf gazeteciliği, Basın fotoğraçılığı, Gerçeklik, Tanıma, Sunma
GERÇEKLİĞİN BİR GÜVENCESİ OLARAK FOTOĞRAF GAZETE-
CİLİĞİ VE BASIN FOTOĞRAFÇILIĞI
Yrd. Doç. Qasem Abdel-Karim SHUKRAN *
* Yarmouk Üniversitesi, Güzel Sanatlar Fakültesi, Plastik Sanatlar Bölümü, İrbid /ÜRDÜN,
[e-mail]

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38
ANADOLU ÜNİVERSİTESİ
INTRODUCTION
Photographs follow most definite strategic picture patterns that are culturally learned and 
immediately give us picture categories due to the iconographic tradition of representation, such 
as “crime scene photography” or “victim picture”. In this relation, not only the iconographic 
image pattern is recognized, but also its significant imagery can immediately be implicit. The 
subjects and their significance are stored in the collective memory of the image and are recog-
nized by the observer and thus updated. The ambiguity of images is reduced by a specific appeal 
achieved by the topic of tradition, so that they are more immediately understandable. In the 
perspective of the media, these images have greater chances of attention (Benjamin 1989).
 Research Problem
In the classical sense, the term “press photography” refers to a single photograph usually 
printed in the newspaper or a magazine. Therefore, it must be distinguished from photojour-
nalism, which presents multiple images, mostly image sequences in one context. In addition, 
press photographs are more characterized by a visual language that attempts to illustrate certain 
coherences with a single image.
In contrast to this, photojournalistic reportages are capable to visualize coherences by comp-
lex photo galleries. However, in the final analysis, a differentiation of press pictures and pho-
tojournalism can not be linked to intra-pictorial strategies, but it is primarily a result of the 
publication context, since it is naturally conceivable that a reportage photo is taken from a series 
and as a single image.
Aims Of The Study
- The study shows the notion of the documentary and its relationship to photography.  
- The study explains the various concepts of the documentary and enters a representation of 
how journalistic press photographs work.
- The study shows the development and the rapid spread of documentary photography, not 
least by the many contexts of use, in which the photographs could find opportunities for pub-
lication.
- The study investigates press photography and its relationship with art history.
Research Methodology 
tIn this study, I use the descriptive-analytical approach as a foundation for research. A desc-
riptive survey attempts to picture or document concerning current conditions or attitudes, that 
is, to describe what exists at the moment. The analytical method is critical of solving the susta-
inability problem because it appears that current processes are inadequate. They are intuitive, 
simple, and based on how activists approach everyday problems.
2  http://www.moma.org/collection/object.php?object_id=79986

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39
SANAT & TASARIM DERGİSİ
Making Of Photography 
A significant example of existing press photography on the cover topic of art history tradition 
is a well-known photograph shot by Flores on September 11, 2001.  Firefighters raising the Flag 
at the WTC, Franklin shows the wreckage of the World Trade Center after the attack on Septem-
ber 11. Both the flag and the architectural remains of the tower project outline as two vertical 
elements from the destroyed building where the flag in the context of the photographs created 
by 9/11 is a recurring theme and, in addition, the historical subject in Flores photography tags a 
strong ritual in the press photography. It views the destruction, so to speak. (Waskul, 2003) This 
effect is reinforced by Flores‘s image because it refers to the iconographic tradition of an image 
by Caspar David Friedrich. Friedrich‘s The Sea of Ice of 1823/24 corresponds to Flores ‘s picture 
concerning the subject of the fragmentary and shattering that is piling up in the middle, the 
view orientation, the dominance of the upward trending from the bottom right to a left slope, 
as well as the restrained color. Friedrich shows the impact of a ship disaster in the Arctic Ocean. 
Between the ice floes on the right, a ship lying on the side is looming. The scenery is just as de-
serted as in Flores ‘s photography. While the subject of the large, almost towering compilation 
of ice floes corresponds to the collapsed remains of a tower of the World Trade Center, Friedrich 
marks a vertical ice floe on the right part of the image, which is reflected as a graphic element 
in the flag picture of Flores. Caspar David Friedrich‘s painting of 1823/24 was frequently read as 
an allegory of glaciations and the climate change in Germany during the  pre-March (German 
pronunciation: was a period in the history of Germany preceding the 1848 March Revolution 
in the states of theGerman Confederation) and “as an iconic expression of that cold that had 
fallen across the political landscape of Europe after the Congress of Vienna”. (Okey, 2001) The 
painting can be implicit as an expression of resignation and hopelessness. This tradition was 
updated once again by Flores‘s photography of September 11 – besides the image of destructi-
on, the subject of the flag already seems to refer to the future and is therefore an expression of 
hopelessness. In contrast, Flores‘s other pictures in the series focus on the destruction (visual 1 
and visual 2) (Sullivan, 2012).
Visual 1. Caspar David Friedrich‘s painting of 1823/24

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