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Humanisme Dalam Foto Karya Samuel Aranda Pemenang Photo of the Year World Press Photo 2012 Oleh : Zulfikar Firdaus NPM : 12.21.0

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Humanisme Dalam Foto Karya Samuel Aranda Pemenang Photo of the Year World Press Photo 2012 Oleh : Zulfikar Firdaus NPM : 12.21.0 Humanisme Dalam Foto Karya Samuel Aranda Pemenang Photo of the Year World Press Photo 2012 SKRIPSI Diajukan Kepada Sekolah Tinggi Ilmu Komunikasi “Almamater Wartawan Surabaya” Untuk Memenuhi Salah Satu Persyaratan Dalam Menyelesaikan Program Sarjana Ilmu Komunikasi. Oleh : Zulfikar Firdaus NPM : 12.21.0011 KEKHUSUSAN : PUBLIC RELATIONS SEKOLAH TINGGI ILMU KOMUNIKASI ALMAMATER WARTAWAN SURABAYA 2018 1 ABSTRAK Fotografi jurnalistik saat ini mulai menjadi primadona bagi masyarakat fotografi, baik dari pelaku atau penikmat fotografi berbondong-bondong mengenal foto jurnalistik lebih dalam. Orisinalitas foto, fakta, kode etik, serta cara bertutur atau story telling melalui foto menjadi poin-poin yang menarik untuk di diskusikan. Banyak peristiwa penting dan fenomena di dunia yang direkam dengan baik oleh para pewarta, salah satunya Samuel Aranda. Fotografer spesialis daerah konflik yang bekerja pada New York Times tersebut, berhasil merekam momen haru salah satu pejuang revolusi Yaman, Fatima al-Qaws saat menemukan Zayed (anaknya) terbaring koma di camp kesehatan Sanaa. Foto karya Samuel Aranda menggambarkan kasih sayang seorang Ibu kepada anaknya yang menjadi korban konflik saat badai revolusi Arab yang dikenal sebagai Arab Spring menghantam Yaman. Berlatar bealakang permasalahan tersebut, peneliti memunculkan pertanyaan “Apa pesan humanisme yang terkandung dalam karya foto Samuel Aranda, pemenang Photo of The Year World Press Photo 2012? dengan mengungkap makna denotasi, konotasi, serta mitos, menurut semiotika Roland Bhartes. Berdasarkan data yang telah dikaji mengunakan semiotika Roland Bhartes, peneliti memperoleh beberapa hasil, yaitu: makna denotasi yang menggambarkan kondisi Fatimah dan Zayed, makna konotasi menggambarkan apa yang tengah dirasakan oleh Fatima saat menemukan Zayed terbaring koma, dan pada mitos dapat diketahui bahwa humanisme tergambar dari kasih sayang Fatima kepada Zayed. Dari hasil penelitian ini, dapat dibuktikan bahwa foto jurnalistik tak sekadar foto yang merekam peristiwa dengan keasliannya, tapi juga pesan-pesan yang terkandung didalamnya. Kata Kunci : Fotografi, Foto Jurnalistik, Humanisme, Semiotika, Roland Bhartes, World Press Photo, Samuel Aranda VII KATA PENGANTAR Assalamu’alaikum Warahmatullahi Wabarakatuh Alhamdulillahirrabilalamin, Segala puji dan syukur peneliti sampaikan atas kehadirat Allah SWT, atas rahmat dan karunia-Nya, peneliti dapat menyelesaikan skripsi ini dengan judul “Humanisme dalam Foto Karya Samuel Aranda Pemenang World Press Photo of The Year 2012.” Pada kesempatan lain, peneliti juga mengucapkan ribuan terimakasih kepada orangtua yang sabar menanti keberhasilan anaknya dalam menyelesaikan progam pendidikan di kampus Stikosa-AWS. Selain itu, dukungan dari berbagai pihak turut menyertai peneliti dalam menyelesaikan penelitian ini. Oleh karena itu, peneliti mengucapkan terimakasih sedalam-dalamnya kepada : 1. Dr. Hernani Sirikit, M.A selaku dosen pembimbing skripsi yang sangat telaten membimbing peneliti untuk menyelesaikan penelitian ini. 2. Kawan Diskusi saya, Mbak Ratna Puspita Sari, M.Med.Kom, Ibu Suprihatin, S.Pd, serta Mbak Putri Aisyiyah Rachma Dewi, M.Med.Kom, 3. Semua anggota UKM Himmarfi yang menempa mental saya, Rozi Shrekus, Syaiful Anwar, Hendriansyah, Kukuh Rangga, Abdiel Bebong. Lemah teles, Gusti Allah sing mbales 4. Semua anggota KOPI Production, khususnya Escalation yang telah mengajarkan saya arti kekeluargaan. 5. Untuk Amalia Irawati, terimakasih banyak. 6. Untuk semua staff Stikosa-AWS yang sering saya repoti selama di kampus. 7. Untuk Mas Zurqoni, Halaman Pengelana, Cokro Squad, Qimas Yunanto, Istiqomatul, dan semua yang tidak bisa disebutkan satu-persatu. VI Semoga kebaikan yang tercurah mendapat balasan setimpal dari Allah SWT. Surabaya,………………..2018 Peneliti VI DAFTAR GAMBAR Gambar 1.1 Skema Signifikasi Dua Tahap Roland Bharthes……………………34 Gambar 2.1 Foto Tunggal Karya Samuel Aranda……………………………….45 IX DAFTAR TABEL Tabel 1.1 Peta Tanda Roland Bhartes……………………………………………32 Tabel 1.2 Kerangka Berfikir……………………………………………………..40 X BAB 1 PENDAHULUAN 1.1. LATAR BELAKANG MASALAH Fotografi merupakan sebuah sebuah kegiatan atau proses melukis dengan cahaya dan menjadikannya sebuah gambar menggunakan medium kamera. Kata fotografi sendiri berasal dari bahasa Yunani yaitu Fos yang memiliki arti cahaya, dan Grafo yang memiliki arti menulis atau melukis. Seperti lukisan ataupun fotografi juga menjadi salah satu alat penyampai pesan dengan unsur rupa (visual) yang dilakukan oleh fotografer sebagai komunikator kepada masyarakat sebagai komunikan. Fotografi sendiri memiliki banyak aliran ataupun genre, seperti Human Interest, Arsitektur, Salon, Lanskap, Kontemporer, Hitam-Putih, Jurnalistik, dan juga Street Photography. Selain aliran atau genre foto, dalam kegiatan fotografi ada juga teknis cara bertutur atau story telling yang dilakukan fotografer dalam menyampaikan sebuah pesan melalui bentuk visual foto. Cara bertutur yang berkembang saat ini antara lain foto tunggal atau single photo dan foto jamak yang memiliki turunan pendekatan secara story (narrative/descriptive), essay, atau dokumenter. Penggunaan foto tunggal biasa digunakan oleh media massa cetak koran, dimana fotografer dituntut untuk membuat sebuah foto yang mampu berdiri sendiri dengan kata lain tidak ada foto pendamping dalam sebuah berita, sedangkan foto jamak merupakan rangkaian dari beberapa foto yang membentuk sebuah rangkaian 1 cerita yang utuh, kebanyakan cara bertutur seperti ini digunakan oleh media massa cetak majalah maupun online. Salah satu aliran yang sedang naik daun dalam dunia fotografi saat ini adalah fotografi jurnalistik. Fotografi jurnalistik sendiri merupakan aliran fotografi yang kegiatannya dibatasi oleh kaidah jurnalistik serta diatur oleh kode etik jurnalistik. Awalnya fotografi jurnalistik hanya dilakukan oleh press atau pewarta untuk kepentingan media massa, dan karya-karya foto jurnalistik pun hanya disebarkan melalui media massa yang menaungi pewarta tersebut. Dewasa ini fotografi jurnalistik tidak hanya dilakukan oleh pewarta foto saja, masyarakat umum pun dapat melakukan kegiatan fotografi jurnalistik berbekal kata jurnalisme warga atau citizens journalism yang merupakan pengembangan dari aliran fotografi jurnalistik. Untuk media penyebarannya sendiri, fotografi jurnalistik yang dihasilkan oleh warga bisa disebar melalui media personal website, blog, instagram, atau media sosial pribadi lainnya. Dilansir pada laman website jagokata.com Tokoh fotografi dunia, Ansel Easton Adams pernah memunculkan sebuah ungkapan, Fotografi lebih dari sekedar sebuah sarana ide komunikasi faktual, fotografi adalah sebuah seni kreatif. Begitu juga dengan Elliot Erwitt yang memiliki pedoman bahwa fotografi merupakan sebuah seni observasi, dimana didalamnya fotografi dia bisa menemukan suatu hal yang menyenangkan di tempat biasa. Elliott Erwitt pun telah menemukan bahwa hal tersebut tidak ada hubungannya dengan apa yang dilihat oleh orang lain mengenai suatu 2 objek, akan tetapi melalui perspektif fotografer dalam melihat objek foto. Senada dengan Ansel Adams dan Elliott Erwitt, Robert Capa, salah satu fotografer perang mengatakan, Jika fotomu kurang bagus, itu karena kamu kurang dekat dengan objekmu. Kutipan tersebut tertulis dalam buku Tubagus P. Svarajati yang berjudul Photagogos. Fotografi jurnalistik sendiri memiliki peran dan efek yang sangat besar dalam proses penyebaran informasi di seluruh penjuru dunia, hal ini pernah dibuktikan oleh salah satu media massa cetak di German Tabloid Bild yang mencetak edisi khusus tanpa menggunakan foto sama sekali. Redaksi Tabloid Blid pun melakukan survey untuk mengetahui berapa banyak orang yang mau membaca tabloidnya jika dicetak tanpa foto, hasilnya hanya ada 2 orang yang mau membaca tabloid tanpa foto. Hal ini menandakan bahwa foto memang memiliki peran yang sangat krusial dalam memenuhi kebutuhan sebuah berita. Dengan adanya foto dalam sebuah berita, sehingga pembaca tidak perlu menerka-nerka kondisi sesungguhnya yang sedang terjadi. Sebuah organisasi non profit dari Belanda yang dinaungi langsung oleh Pangeran Bernhard (pangeran Belanda), World Press Photo atau yang biasa disingkat WPP, rutin menyelenggarakan lomba bergengsi untuk karya- karya foto jurnalistik di seluruh penjuru dunia. Organisasi yang lahir 61 tahun silam, secara tidak langsung menjadi sumber literasi bagi fotografer jurnalistik dunia dikarenakan isu-isu yang ditampilkan merupakan isu dunia hingga konflik dalam negeri seperti isu pemberontakan hingga pertarungan 3 antar gangster. Dalam setiap lomba yang diselenggarakan, WPP memiliki juri yang tidak hanya berlatar belakang jurnalis, melainkan ada pula yang berlatar belakang arsitek, praktisi seni rupa, psikolog, dll. Setiap karya foto yang berhasil memenangkan penghargaan dari WPP akan dipamerkan keliling ke 35 negara. Samuel Aranda, salah satu pewarta foto spesialis daerah konflik kelahiran Barcelona, Spanyol, berhasi meraih penghargaan World Press Photo of the Year 2012. Foto tersebut juga meraih 1st prize single kategori People in the News. Foto karya Samuel Aranda menggambarkan kasih sayang seorang Ibu kepada anaknya yang menjadi korban konflik saat badai revolusi arab yang dikenal sebagai Arab Spring menghantam Yaman. Revolusi Yaman diulai pada Januari 2011, dipicu oleh pergerakan yang sama di Tunisia dan Mesir. Rakyat Yaman yang tak sanggup lagi menahan emosi atas pemerintahan Yaman yang kala itu di pimpin oleh Presiden Ali Abdulah Saleh yang telah memimpin Yaman selama 33 tahun. Mengutip artikel berita dari Arrahmannews, Yaman
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