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Exposure Time: Change Observer: Design Observer
"Unmasking Photo Opportunities, Cubistically
In a 1994 photograph we see U.S. soldiers invading Haiti, lying on the airport tarmac pointing their rifles at unseen enemies. The heroic image supports the claim of the U.S. government that it is invading to support democracy, liberating a neighboring country from a dictatorship.
The curious reader [of the future], however, might want to place the computer cursor on the image. Another photograph appears from beneath it; it is of the same scene but from another vantage point. U.S. soldiers are pointing their guns not at any potential enemy but at about a dozen photographers who, lined up in front of them, are photographing them. In fact, the photographers are the only ones doing any shooting."
After Photography › The Alteration Fallacy
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The Alteration Fallacy
There seems to be a generalized sense that digitally manipulated photographs do “not wholly reflect the reality they purported to show,” as the New York Times put it (see post below). On the other hand, photographs that are not digitally altered are thought to reflect that reality–the obverse reasoning which may be even more dangerous.
After Photography › For Greater Image Credibility
For Greater Image Credibility
In my After Photography book I outline a number of ways to employ the digital image differently, including ways to be more explicit as to the origins and possible meanings of the image. Given the never-ending discussions about digital retouching and a growing disbelief as to the authenticity of the contemporary photograph, I will repeat two of them here:
Bosnia: Uncertain Paths to Peace
About the Project
For four years, Bosnia and Herzegovina was torn by the bloodiest and most ruthless European conflict since World War II. Its capital, Sarajevo, was the focus of an epic siege. Its territory was riven into ethnic enclaves, and accounts of mass killing and rape shook the world's conscience.
With the signing of the Dayton accords last December, Bosnia is emerging from that torment. Now it faces the challenge of reconstruction and reconciliation, of carrying out free elections and of bringing accused war criminals to justice.
"Bosnia: Uncertain Paths to Peace" is both a photographic chronicle and a worldwide discussion of this crucial passage in Bosnia's struggle.
An interactive photo essay by the French photojournalist Gilles Peress, with the photographer's narrative, documents the last weeks of the siege of Sarajevo in February and March, including the exodus of Serbs from the suburbs from which the siege had been mounted.
A collection of forums for discussion, led by scholars, diplomats, artists, humanitarian leaders and other experts, will be active for one month, starting June 10, and open to contributions from the entire Internet community. Connections have been established in Sarajevo, at the war crimes tribunal in The Hague and at the United Nations to encourage participation by those closest to the Bosnian conflict and its resolution.
And resources for context are available, including chronologies, maps, links to other Internet sites, a glossary and who's who, a reading list and recent coverage of the Bosnian events from The New York Times.
We welcome your feedback about this project.
AFTERPHOTOGRAPHY.ORG
Given the emergence of the digital, few appear to be exploring whether more effective and expansive media strategies can now emerge. This site is a forum on possibility, launched in conjunction with the publication of Fred Ritchin's book After Photography in fall of 2008.
PixelPress
At PixelPress our intent is to encourage documentary photographers, writers, filmmakers, artists, human rights workers and students to explore the world in ways that take advantage of the new possibilities provided by digital media. We seek a new paradigm of journalism, one that encourages an active dialogue between the author and reader and, also, the subject.
Our online magazine features projects that use a variety of linear and non-linear strategies, attempting to articulate visions of human possibility even while confirming human frailty. For us the digital revolution is a revolution in consciousness, not in commerce.
We work with organizations such as Crimes of War, Human Rights Watch, World Health Organization and UNICEF to create Web sites that deal directly with contemporary issues in complex and innovative ways that circumvent media sensationalism and simplification. We also try to factor in ways that the viewer can help remedy social problems, rather than remain a spectator. Recently we completed a site focusing on how to end polio worldwide; another trying to aid an orphanage in Rwanda; one trying to reclaim the Brazilian forest; and a site featuring the images of photographers from the Vietnam War. And we also create books with photographers such as Machiel Botman, Kent Klich and Sebastião Salgado on social themes, as well as traveling exhibitions using both digital and conventional processes.
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