Mary Ellen Mark

The term photography originated from the Greek words drawing with demoralise (Grundberg, 2005). None could be a to a greater extent apt name for this miscellany creation. Indeed, when it flourished in the early 19th century, we have finally discoered a way to draw upon light and use it to freeze the ups and downs of our curious race. The photographers among us have taken stick outs of scientific advancements and artistic marvels, of the great men and women that had greatly influenced our society, of sleepy villages and breath victorious vistas, of family life, and of anything else that appeals to our desire to immortalize the parts of our founding. We have established that photography is a useful hobby. only when others find photography more than than solely a pastime. They are the ones who not only capture a moment, barely in addition, more important, shed light to those few living on a lower floor the cracks in society. Such photographers, for instance, would go to any wa r-torn country, where they will document the struggles of minor soldiers and the people trapped in war, so that hopefully politicians would lend a sympathetic ear, or a sensitive heart.And still other photographers would go to any unattested region around the world to erase the dogmatism and scorn with which so-called social proscribedcastslike prostitutesare treated. Diane Arbus, a k todayn American photographer, once said, There are things nobody would see if I didnt photograph them. We have much to learn from the kind of societies we, as a whole, have madeand through photography we could make a difference.bloody shame Ellen ticktack, a photographer herself, embodies the equivalent guiding principle in her berth of work. She believes in the fullness of clementity, no matter where it is found. Despite the lucrative promise in her kind of work, which some of her contemporaries enjoy, chase after much gets turn up of the incarnate world and plunges into a more intimate on e, to the kind of places where even taking a picture of a bystander might endanger her own life.Yet she is ordain to trade her safety for the news report she gleans from the people around her. Many times, in 1978, while attempting to photograph the prostitutes of Falkland Road, Bombay, Mark have had to endure verbal insults and go down of garbage thrown by people who felt threatened by her (Long, 2000). Others might call her means of photojournalism reckless(prenominal)(prenominal), if not suicidal, but Mark trusts people, and they to her in return. She has had a great journey so far, and shell definitely not stop.More than cardinal years had passed in her noble career. But, like every altruistic mortal who had chosen to get out of the rat-race, Marks career started around ordinarily, her revelation still at a distance. In the 1960s she began the unyielding climb upwards to building a career, working for distinguished magazines such(prenominal)(prenominal) as Look and Life. A somewhat glamorous job compared to what she is doing salutary now. Yet even at that time she was already perfecting her photojournalism as she placid moneyed photo es alleges for both news and fashion periodicals. And her clients was impressiveEsquire, Holiday, The tender York Times, Magazine, Vogue, and many others.1965 was the year in which she finally got the chance to get out of the restrictive office space. Mark received a Fulbright Scholarship, which she used now as a stepping stone to travel for two years in various countries such as Greece, Italy, Germany, Spain, and England (Long, 2000). She was slowly removing the chains that bound her to still one place, a kind of freedom that would serve her later on.Within the alike(p) decade Mark began using her camera to illuminate the unseen-forgotten-neglected-prejudiced parts of society. Her stall of things was changing. This time, sooner of wallowing in glamour and news, she was immersing herself in the troubles of othe rsthe transvestites, pro-women and anti-war demonstrators, and others which have often got less from the same society to which they give much of their empty cries for equality, justice, and understanding, and acceptance.She was in the frontlines, and she documented it all using her camera. What I want to do more than anything is allow in their existence, she once said. One is considered a courteous host if one acknowledges the strawman of another. But Mary Ellen Mark, even as she was building a career, was more than just a courteous somebody. More than that. In fact, by acknowledging the existence of those around her, she was actually empowering them, putting them in focus and perspective, in the same way that a microscope examines the germs on a cruciblealthough in this baptistry she was examining the wounds in society. Her camera became her metaphorical extended eye, one that opens her understanding. And with understanding she would also discover compassion.Production stills, u sed in Hollywood movies, came next in line for her. The work itself suited her photojournalismon one hand she was taking pictures on the other hand, telling the meaning behind the pictures. When she took stills of Milos Formans One Flew over the Cuckoo Nest, a film that was shot in an actual psychogenic hospital, Mark delved deep into the minds of the deeply troubled. The year was 1973. Eventually, to bring herself closer to the patients, Mary Ellen Mark befriended the hospitals director (Long, 2000).Ive just forever been raise in mental health, mental illness, she once said. But her interest didnt border on a morbid fascination she just did it out of her passion for her line of work. And instead of portraying the patients as an insane joint with no cure, Mark valued their individuality, their unique personalities that still hide beneath the deranged mask (Long, 2000).That is one of her styles, her believing that not all things appear exactly as they are in photographs. She bel ieves something will appear divagation from what she believes to be concrete. Her belief is itself a style, for she incorporates it into her work. She may take a picture of a smiling child, for instance, and yet not know what the child actually feels she might not know that the child may be hide a sadness deep within. Nevertheless, she still takes pictures because part of her seeswhether consciously or subconsciouslya certain kinship with strangers, a human universe seeing herself in others. And if that were the case, whence perhaps one could even say that her style is more spiritual than personal, a way to find a place for herself in this world.To her, every person in the picture is a raconteur. A rodeo cowboy may appear masculine, but deep inner he tells a story of his struggles to maintain that machismo image, if only to bring solid food on to his family table. Or a female patient in a mental hospital may appear incapable of focusing on to anything and is merely limited to mumblings, but the clarity in her eyes or the pose at which her photo was taken suggest otherwise. Storieseach of us has a story to tell, and one of the ways to telling it is through photographs.Mary Ellen Mark knows this well. Therefore, another of her style is to let her subjects tell their own stories, the attention outdoor(a) from her. Theres nothing much interesting about me whats interesting is the person Im photographing, and thats what I try to show, she once said. The end result, of course, is pictures that show vividly the stories of people, who seem to leap out of the paper, telling Look at my story to viewers. Marks photographs show the humanity in every human being, no matter where the photo was taken (Fulton).Mary Ellen Mark also loves show the ironies of life and its participants. Yet another of her style, which she has applied when she made a photo-essay of 8 different traveling circuses (Long, 2000). She focused on the outfits characters, the runners of the showt he animals and the bizarre attractions such as the dwarf and the contortionists. For the first time in her life, she felt new-made again, a woman transported into a magical world. She beheld everything as though she were ceremonial occasion it through the eyes of an infant. She described it aptly It was full of ironies, often jocular and sometimes sad, beautiful and ugly, loving and at times cruel, but always human.Life is full of tincts, each unique unto itself. A painter or photographer blends these rich colors to great effect, oftentimes combining the real with the surreal. But even some painters and photographers do put away their color palettes at times. And why shouldnt they? After all, is it not true that the richness of colors can cause a sensory overload, too? Ellen Mark is such a person who thinks so. By using a written communication palette in her pictures, she enlarges the parts of life and reality that are often overlooked. In most of her pictures, for instance, ev erything is made clearer by the lack of a rich palette, like a brief pause in life. The viewer then sees things that were once buried under colors.It is akin to the Zen concept of less is morein this case, the lack of too many colors tells more story about the place, things, and people in the photographs. Mark once took pictures of the kind of life that goes on inside a home for the sick and the dying. Here, she unsheathed all the salient information brought about by clashing colors, and instead brought out quite extremely the shocking details of the metal cots, the worn bodies, and the human fancies in agony (Long, 2000).Mary Ellen Mark is as unique as the characters in her photographs. But some couldnt help comparing her style to that of Diane Arbus. Both women enlarge life by reducing the colors to monochrome both sympathize with those living outside the accepted circles in society. But perhaps the thing that separates Mary Ellen Mark from her predecessor is her love of life, h er unremitting looking forward to living. And it is perhaps for this same reason that she will remain acknowledging the existence of otherswhereas Diane Arbus had already surrendered, after committing suicide in 1971 (Grundberg, 2005). Mark is now continuing where Arbus had left off.Fulton, Marianne (2000?). Mary Ellen Mark Some Thoughts.Retrieved on whitethorn 30, 2007 fromdigitaljournalist.org/issue9903/mark01.htmGrundberg, Andy (2005). Diane Arbus. Microsoft Encarta 2006 DVD. Redmond, WA Microsoft Corporation, 2005. Microsoft Encarta 2006.Grundberg, Andy (2005). Photography. Microsoft Encarta 2006 DVD. Redmond, WA Microsoft Corporation, 2005. Microsoft Encarta 2006. 1993-2005 Microsoft CorporationLong, Andrew (2000). Brilliant Careers.Retrieved on May 30, 2007 from