DPP Home Profiles Jeffrey Aaronson - Here, There And Everywhere

Tuesday, June 12, 2007

Jeffrey Aaronson - Here, There And Everywhere

As a photojournalist, Jeffrey Aaronson is called upon to do everything—from formal portraits of newsmakers to elaborate photo essays—all across the world



Here, There and Everywhere Like commercial and fine-art shooters, photojournalists are moving forward with the new digital technology. Today's most talented photojournalists have embraced digital for its ability to allow them to do more to tell a story through photographs. The limitations of film—its bulk, the need to handle it carefully, being tied to a single film speed while you're shooting a roll—don't apply. Digital technology gives a photojournalist the power to shoot much more freely all the time. Using digital gear, photographer and world traveler Jeffrey Aaronson has been able to do some of his finest work.

As digital has come along, Aaronson has been readily learning about it and using the gear. “Digital is like having a canvas to work on in the field,” says Aaronson.

“I can stop shooting and look at the key components of the shots and see if something isn't working. I check colors, backgrounds, lighting and balance in the frame. I can see right away when a change should be made. When I'm shooting, I miss some of these things because I'm concentrating on other aspects of the shot. Basically, it just helps me to make better images.”

Aaronson is known for his work covering major stories such as the uprising in Tiananmen Square. His reputation as a thoughtful and thorough journalist are well deserved. At a time when photojournalism is dominated by photographs of death and destruction, his work stands out as images that come together to tell a whole story.

In his travels throughout the world, Aaronson has photographed his share of conflict and violence, but the images of his that resonate are those of life and culture. Like many of the great photographers of the 20th century, Aaronson has a unique ability to immerse himself in a place. That immersion makes him much less of an outsider looking in. Instead, as viewers, we feel like unobtrusive bystanders to the scene.



 

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