John Brown

Creative Aralee Fajardo
Photographs are un-biased in the fact that they reveal the veracity of a function in plain eye, unlike the enigmatical comprehension of words in newspapers. Photographs gives a direct bear upon to any audience by demonstrating a visual first-person head word of view of an event. Some condemnations, this kind of on the spot impact pull up stakes give the audience a realization and understanding of the situation at hand. For example, a well written persuasive clause about poverty would inform an audience and be informed of the topic, but at the same time would influence to a greater extent of a wave of pity than action of reducing poverty. further showing a photograph of a person in poverty in a third world pastoral would hit a wave of sudden realization and want to action. Photographs has a strong sense of vivid motivation to action, and this weapon attracted to Jacob Riis.
Jacob Riis in occupation was a late 1800 journalist in New York. With this occupation he was exposed to the slums of New York.



He began to visit immigrants in their homes, where he observed their continual jumble to preserve a measure of decency in an environment of inveterate unemployment, disease, crime, and cultural dislocation. But Riis found the newspaper life frustrating. His stories may have been vivid, but apparently not vivid decent to shock anyone to action. In frustration, Riis left the New York Tribute to carry through How the Other Half Lives. From the experiences of other urban reformers at the time like John Thompson and Adolph Smith, Riis had learned that photographs could be powerful weapons to upgrade indignation. If photographs accompanied How the Other Half Lives, no corrupt political leader at that time could dismiss its arguments as opinioned word-paintings spawned by the predilection of an overheated reformer. Photography indisputably showed life as it really was.
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