Crisis photography: the conversation
Last week I wrote about war photography, and cited an interesting essay written by Hans Durrer called Photographic Collaboration, published in the journal Soundscapes. With his permission, I am reposting a large portion of his essay here. He writes:
“In times when (some) photographers hold celebrity status, it is useful to be reminded that a good photograph does not solely depend on the photographer’s ability to choose the right subject, location and light, but also on the chemistry and the collaboration, between photographer and subject.
“A good illustration of this is One Step Beyond, the multimedia project about landmines and their victims by the German photographer Lukas Einsele. Because Einsele makes his pictures with a large-format camera, staging is unavoidable because, as he wrote to me in an e-mail: ‘The camera is visible, the photo — its exposition — lasts such a long time that a certain acquiescence has to exist between photographer and subject. Sure, there are exceptions, but actually I’m looking for these common productions by which the subjects become co-authors of an image-reality.’
“When looking at works of photography, viewers often don’t know whether such types of collaboration as those mentioned above have taken place. Sometimes viewers learn about it, more often they don’t. Photographs invite us to ask questions: What do my eyes show me? How did the photo come to be? What doesn’t it show? And so on.
“Walker Evans, while working for the Resettlement Administration in the 1930s, took photos of sharecroppers in Alabama. He portrayed them in their daily lives, at times with worn-out clothes, dirty feet, uncombed hair and unshaven faces, because he wanted to document the circumstances they were living in. That, however, seems not have been to their liking, for there exists one photo — one that Evans did not use in his publications — that shows the family clean and combed and in their Sunday best. One can safely assume that it was taken at the request of the family.
“Despite my deep sympathy for socially inclined photographers, when the people portrayed feel ashamed of their portraits, there clearly is something wrong with this kind of photography.”
This statement, among others, has provoked meaningful responses and arguments on a number of platforms, including this blog. Photographic Collaboration was reposted on the photography forum ZoneZero, where it spurred a lengthy debate between ZoneZero’s Pedro Meyer and Mr. Durrer.
On his own blog, Across Cultures, Mr. Durrer made a similar point to my own last week, that the viewer feels shame looking at certain pictures. In a discussion of Susan Meiselas’ book Nicaragua, published in 1981, he writes, “A very famous photograph shows a young woman running on a road with a near-naked little boy hanging from one arm and a bag slung over her shoulder. The caption explains: Fleeing the bombing to seek refuge outside of Estelí, Nicaragua, Sept. 20, 1978.
“Years later, in a documentary about her work in Nicaragua, Susan Meiselas comments: ‘That photograph is taken by at least five different photographers, at different points during her journey. She is literally vultured by us. No one is thinking to help her, including myself.’
The war photographer and the ones who simply look at these pictures share the same dilemma: both know that these photos should not exist and both are glad that they do.”
I’d love to hear your reactions to these ideas.
I’m also looking for more conversations like this. I know there’s a lot of great posting happening on Lightstalkers, as journalists talk to each other about these issues. Where else? Please send me recommendations of what to read, or post links in the comments on this blog.
War photographer: a dangerous idolatry
James Nachtwey, Afghanistan
Recently, I’ve been thinking about war photography, and the moral arguments that commonly support it. I’ve been seeing people use those arguments to advocate for certain practices in photography in general, and I think there are problems with that.
To me, war-phototography is not the same as non-violent-photography.
James Nachtwey, Bosnia
For example, in the movie War Photographer, by Christian Frei, photojournalist James Nachtwey describes his process like this: “In a war, the normal codes of civilized behavior are suspended. It would be unthinkable in so called normal life, to go into someone’s home, where the family is grieving over the death of a loved one, and spend long moments photographing them. It simply wouldn’t be done.
“Those pictures could not have been made unless I was accepted by the people I’m photographing. It’s simply impossible to photograph moments such as those without the complicity of the people I’m photographing; without the fact that they welcomed me, that they accepted me, that they wanted me to be there.”
James Nachtwey, Bosnia
The film shows Nachtwey building relationships, asking questions, and getting to know communities in a conscientious way, even as it also shows him taking pictures in the midst of explosions. But the film emphasizes the picture-taking, not the communication, which I think sends a false message.
I can see how, in a violent situation, neither the photographer nor the subject might be concerned with asking permission or communicating verbally. I can see how permission could be implicit. But I also know that it is easier not to ask permission. It is easier not to communicate. And it’s very easy to misunderstand.
So I’m wary of implicit permission, especially when it’s applied to non-violent situations. I often hear photographers say they are “giving a voice to the voiceless” or “bearing witness.” And when that is the aim, I think that some level of collaboration between photographer and subject—some kind of overt permission—is necessary for the image to have a positive impact.
In a fantastic essay for the online journal Soundscapes, Hans Durrer confronts this issue, saying, “In times when (some) photographers hold celebrity status, it is useful to be reminded that a good photograph does not solely depend on the photographer’s ability to choose the right subject, location and light, but also on the chemistry and the collaboration, between photographer and subject…Despite my deep sympathy for socially inclined photographers, when the people portrayed feel ashamed of their portraits, there clearly is something wrong with this kind of photography.”
That is just an electric statement: When the people portrayed feel ashamed of their portraits, there is something wrong with that kind of photography.
This doesn’t only happen in journalism. It also happens in collaborations between photographers and nonprofit organizations. I spoke to Benjamin Chesterton the other day, who runs the multimedia production company duckrabbit and the blog A Developing Story and he said, “It’s amazing to me that these NGOs’ awareness campaigns will say they’re giving a voice to the voiceless, but you never hear a single actual voice from the community that’s being represented.” This is happening right now with UNICEF’s new Put It Right campaign. Photo/audio slideshows that duckrabbit produces use voices in an incredibly powerful way, as in this one made for MSF (Doctors Without Borders).
Artist Fazal Sheikh photographs war and the issues that surround it, and is a photographer who takes permission seriously, and emphasizes it. Rather than seeing permission as a burden, Sheikh actually builds better projects and makes better pictures by asking permission. Which is intuitive, but not if you’ve just been watching War Photographer.
Fazal Sheikh, "Abduhl Rahman" from The Victor Weeps
In his introduction to the book A Camel for the Son, about Somali refugees living in Kenya, Sheikh writes, “I arrived at the camp at Liboi in February 1992 on a UNHCR flight from Nairobi along with news journalists, most of whom were staying for one or two days. The war was fresh and the competition for pictures and stories was fierce.
“I decided to stay on longer and asked one of the Somali leaders whether he would allow me to work in the camp. Some weeks earlier, on the Sudanese border, I had asked an elder the same question. ‘Why are you asking me?’ was his reply. ‘I am only a refugee.’ But his tone made it clear what a violation it was for the refugees to have strangers moving through their communities without their consent.”
Fazal Sheikh, "Alima Yusuf Abdi and her son Hassan" from A Camel for the Son
This is someone I can look up to. This is someone who has created a process that lines up with his stated goals. He also makes incredibly beautiful images, whose beauty has a lot to do with the energy, self-assertion, and self-possession that people display in front of his lens.
Fazal Sheikh, "Alima Hassan Abdullai and her brother Mahmoud" from A Camel for the Son
Seeing the strength, the individuality, and the self conscious composure of his subjects, I feel devastated and enraptured; humbled and uplifted. I feel sad. I feel educated. I feel inspired. And I feel proud to be the audience at the end of a photographic process I believe in. By making pictures that his subjects are not ashamed of, he allows me, as the audience, to shed my shame as well.
Fazal Sheikh, "Hadija and her father Badel Addan Gadel" from A Camel for the Son
PhotoPhilanthropy in the Field: notes from King’s Hospital, Haiti
PhotoPhilanthropy founder Nancy Farese has been in Haiti this week, documenting the work of NGO’s providing social services and disaster relief. Her first bulletin described the spontaneous settlements all around the capital. Here, Liz Hale describes their visit to King’s Hospital, with photos by Liz Hale and Nancy Farese.
Malaria patient at King's Hospital, Nancy Farese
We traveled on a very rough and rocky dirt road, passing Villambetta Camp which we had photographed with the IRC, and continued just further to their referral hospital. We arrived at Kings Hospital unannounced, with only our IRC friend as a reference, and asked for “Dr. Junie” (Junaie F. Hyacinthe, MD—she is also a pastor).
King's Hospital in Villambetta District, Haiti. Founder, Dr Junaio Hyacinthe visits with a patient and his brother. Nancy Farese
She emerged after fixing a few outdoor cement sinks and greeted us with her warm and open demeanor. She dropped everything to sit and tell us the story of King’s Hospital, Kings Clinic, King’s School and King’s Orphanage—all of which she founded in the last five years. This lady is remarkable; she is an intelligent and charismatic leader, with an avid determination to improve the quality of healthcare for her community.
Liz Hale
Her initial funding came in 2005 from the US, prompted by an American friend who encouraged her to come to the States and pitch the story of her experience running an ObGyn clinic in Port-au-Prince. Her dream was to build a hospital. While she found the idea of strangers giving her funds very strange, she decided to try.
This boy had just had hernia sugery, and shared the room with a 70 yera old man who was recovering fromt he same surgery. Nancy Farese
She arrived in Illinois on a Thursday, and left the following Monday with pledges of $110,000. Since then, her American friend has organized many fundraisers to continue support for Dr. Junie’s efforts. There is something very authentic about Dr. Junie and I am certain that people she meets want to help her—I immediately believe in her, just as they do.
Liz Hale
The hospital was just shy of completion when the earthquake struck. She opened her half-finished wards to help survivors, and hasn’t slowed down since. She operates as a full-fledged—albeit rudimentary—facility, with a functioning operating room and many patients.
Liz Hale
It is sparse and simple, but clean and staffed. Medical supplies have been donated from the US which has allowed the hospital to continue to see patients. The number of operations they perform has sky-rocketed.
The key? Intimacy.
Kathleen Hennessy is the Director of Photography at the San Francisco Chronicle and has just joined PhotoPhilanthropy as the Activist Award Director for 2010.
I asked her everything that came rushing into my head. What is your editing process like? And how do you think photography creates social change? And what advice do you have for people submitting photo essays to PhotoPhilanthropy?
Here’s what she said:
Some of the essays I looked at from last year’s submissions were not as strong as they could be because they don’t really have a focus. What I’m seeing is that people are photographing things that are happening around them, but I don’t know what the story is. I don’t know what they’re trying to say.
If you were going to document a pediatric surgical team, for example, it would be really great to have some theme that you follow—maybe a doctor, or a patient—so that you connect with somebody.
I think it’s really important to establish that connection with another individual. Because if you don’t, if the viewer doesn’t get to connect with any person in a deeper way, then everybody becomes sort of anonymous. And that’s a problem. I think you get a much more emotional reaction when you really feel like you got to know someone and their story. And then that one story illustrates the larger organization and the larger issue.
When I was working with Deanne Fitzmaurice on the Pulitzer prize winning story, she got very close to the subject.
It was as story about an Iraqi boy named Saleh, who picked up a bomb he thought was ball. It exploded, killing his brother and severely injuring him. He was eventually brought to Oakland, California for treatment. She worked on that story for about a year and got close to the family. It was impossible not to.
And even though she didn’t want to, she had to show the moments where he was acting up or getting frustrated because that was the whole story. She had to stay somewhat detached. Because the goal of photojournalism is to have the credibility that you are telling the truth.
An artist, on the other hand, is seeking their own truth, in my opinion.
So when you are doing this kind of collaborative work with an organization, you really have to believe in what that organization is doing. If you go in there and you think, “Wow, what are they doing?” then maybe you shouldn’t do it.
It’s also important to really do your homework. You should talk to people who run the organization, who are in the field, and ask them what they see every day. And sometimes you have to be a filter, because they may tell you what they think is a great story, and it may not be. For example, it may not be visual. It has to be a visual story. And it has to prompt an emotional reaction that connects the viewer to the subject
The best thing to do is observe. Spend some time before you ever pick up the camera, observing what they do. You need to think about what it is that attracted you to the story. What is the story that you want to tell?
And take notes. I always say to photographers—who are not necessarily writers—take notes. Jot down words that represent what you are feeling, and then think about how to capture that feeling.
You asked about creating social change as an editor. Well, we were having a staff meeting, and talking about ideas. I wanted to do some stories related to the economy, because that is one of the big issues of the year.
So Brant Ward, one of our staff photographers at the Chronicle, said, “I really want to do something in Chinatown. It’s very difficult to get access to stories there, and there is a lot going on.”
He’s been at the Chronicle for 25 years. He found his own contact and she connected him with the Mo family, who live in a one room flat. The room has no private bathroom or kitchen so they share with the other families living in the building, which is called an SRO: single room occupancy.
He worked through a community activist who spoke the language and was trusted by the community. I think that’s a very important connection, so that when you are introduced to the community, you are also trusted.
The father, Zhihua, a carpenter and plumber, was out of work. The mom, Lifen, was making minimum wage handing out restaurant coupons to tourists. The grandfather, who lived a block away in another SRO, had a nurse taking care of him but when Zhihua lost his job they could no longer afford the nurse and Zhihua starting taken care of his dad daily.
The grandfather couldn’t walk, and his son told Brant, “When I take him to the doctor, I have to put him on my back and carry him up two flights of stairs.” And so Brant knew that was the picture he needed to get. And so he kept waiting and waiting for that day to come, and it finally did.
When the story was published, it was on the front page with two inside pages full of photographs. There was a real out-pouring of support. Brant received many emails from people who wanted to help, both monetarily and with job offers. Zihua is now working again.
So you hope that you have an impact, and it can be something small like one person getting a job. Or it could be a larger impact, like with Deanne’s story. After her story was published, Saleh’s family received thousands and thousands of dollars in donations and his mother and sisters were granted asylum in the U.S.
And that’s the beauty of documentary photography: hopefully your goal is to have some sort of impact.
Brant told the story of Chinatown through one family. Which gets back to what I was saying in the beginning. You’re more connected through one family than if it was a series of pictures of multiple families who lived in single rooms. I feel more connected to that issue because I know what this one family’s life is like.
If you stay with one story, if you stay with one focus, there’s more intimacy there. And to me that is the key to a successful story or a successful photo essay, intimacy.
And a lot of times you may see a collection of photographs, and they may be beautiful, but I’m left wondering what are they trying to say. Other than, here’s a nonprofit, or here’s a lot of suffering people.
I loved Dmitry Markov‘s story, which won the amateur award, because it was so focused. One group of kids, one place—I really got a sense of what their lives were like. Beautiful intimacy with the shaving of the head, wonderful use of light. I felt a sense of connection with the community there because I could see how the boys reacted to each other. I thought that was really successful.
PhotoPhilanthropy in the field: observations from Haiti
This week, PhotoPhilanthropy founder Nancy Farese is in Haiti, documenting the work of NGO’s as they provide disaster relief. She sent us this bulletin:
I am here shooting on behalf of the IRC (International Rescue Committee). Their primary expertise in emergency response is water and sanitation, though they are quickly laying the groundwork for partnering with Haitian agencies to provide Gender Based Violence prevention programs in the settlements, child-friendly playing areas, and family identification databases to help people find their loved ones.
In Piste Camp a man collects rebar to straighten out and reuse.
There are approximately 500 spontaneous settlement camps in Port au Prince; people gathered out of the desperation of having lost everything in the crumbles of their house, or the simple fear of sleeping under concrete structures identical to those in ruins around them. There was a 4.5 aftershock on Monday night, followed Tuesday by a 4.7 earthquake from a new source, that had us all running from our beds.
Spontaneous Settlement camp in Port au Prince
Spontaneous Settlement in Villambetta
The settlements are crowded and desperate; erected on every piece of available open land in the city from parks to golf courses, out of any material at hand. Giant bladders indicate that the French Red Cross and UNHCR are supplying water, and a cluster of people waiting in lines near a settlement indicates a distribution of tents or food vouchers. The IRC and UNICEF are quickly building latrines with the help of campers where space is available, but they readily admit that the urban disaster constraints of this many people displaced in such tight confines is unique and challenging. Everyone fears the outbreak of disease if the latrines are not built quickly and used effectively, and everyone knows that each additional day spent in a camp means more resistance to a transfer to a safer, more physically intact location as communities develop and nearby jobs are secured. Everyone fears the onset of rain.
So what is going right? The compassion and resilience of these remarkable Haitian people. You can’t help but admire their strength. By far the most positive thing that we see is an openness, warmth, and a desire to connect. People want to talk with me, to tell their story, to hold my hand, to have a few words. There is much appreciation by locals for the help from people around the world.
Spontaneous Settlement in Villambetta
And children are playing in the camps; making kites out of plastic sheeting, toy trucks out of trash, playing soccer barefoot amidst the rocks and debris of an abandoned field.
In Piste Camp a man sells phone charging time, powered off of a generator.
Spontaneous Settlement in Villambetta, a girl takes a quiet moment to read. The schools are all closed, some physically collapsed in the quake killing hundreds of children.
Radical bland: unfolding the New Topographics
My first encounter with the New Topographics did not go well. I was 20, and in college, and stumbled into the Robert Adams show at the Yale University Museum of Art in 2002 when I was there to attend a lecture.
Robert Adams, Pike's Peak Park, Colorado Springs, 1970
I wandered up and down the walls of what seemed like endless, terrifyingly boring black and white images of ugly houses, cul-de-sacs, clear-cutting, and mines. I could not figure out what these pictures were really about, or why anyone would want to look at them. When I looked at them, I just felt depressed.
Robert Adams, untitled, Denver, 1970-74
Ah HA, I now want to say. Hey, Eliza, that WAS the point! That’s what makes them so interesting and disarming and beautiful. We are building a boring world for ourselves. Which, when you realize it, is searingly painful to witness and be a part of. Eliza, Eliza, wake up!
Robert Adams
But Eliza, junior-in-college, is utterly impervious to my shouts. It was not until a few years later, when I found myself in Arizona, a whole new part of the American West than I had previously experienced, that I began to really feel what those pictures are talking about.
It helped that I met and studied with Bill Jenkins, the curator responsible for the New Topographics exhibition in 1975, and Mark Klett, one of the foremost landscape photographers working in the U.S. Their personal experiences and their view of life in the Sonoran Desert, fast disappearing beneath box stores and condo complexes, reshaped my connection to landscape photography, particularly photographs of the western U.S.
Robert Adams
And now, when I think about the New Topographics, I think about that group of artists as some of the most serious, purposeful social change photographers that I know about.
One of the things that interests me about them is that they use images in a different way than I might have expected. They use images to create social change by helping their viewers understand what society is, in the first place. They aren’t showing just what’s wrong with it, or what it would look like if things were better—they are showing me what my own culture is. They are telling me stories about myself.
I love that! To me, that is so often what makes a great work of art—the ability of the artist to articulate how I feel, or how life feels, in a way that I’ve never been able to.
And social change is such an ambiguous phrase, and such a nuanced and many-layered process—what a great idea it is to start change by understanding where you are (in space, in time, in community-building) in the first place.
A new show reproducing the original selection of artists, with a few additions, opens this week at the Center for Creative Photography in Tucson, Arizona, with an artist’s talk at the opening reception, given by Bill Jenkins, Joe Deal and Frank Gohlke. There is also a catalogue available, which I just bought. Details below, taken from the CCP website.
Longmont, Colorado, about 1982
New Topographics, February 19 – May 16, 2010
The exhibition New Topographics: Photographs of a Man-altered Landscape, held in 1975 at George Eastman House, signaled the emergence of a new approach to landscape photography. A new version of this seminal exhibition re-examines more than 100 works from the 1975 show, as well as some 30 prints and books by other relevant artists to provide additional historical and contemporary context. This reconsideration demonstrates both the historical significance of these pictures and their continued relevance today.
Opening Reception and Artists’ Talk, Friday, February 19, Reception at 5 p.m., Discussion at 6 p.m.
Join Bill Jenkins, the curator of the original 1975 presentation of New Topographics and exhibiting artists Joe Deal and Frank Gohlke as they discuss the origins and impact of that seminal project. Moderated by Britt Salvesen, Department Head and Curator of the Wallis Annenberg Department of Photography, and the Department Head and Curator of Prints and Drawings at the Los Angeles County Museum of Art.
