Anthro 133P: Documentary Photography Midterm

Anthony Lane

"Candid Camera" Discussed the art/ wonderful aspects of the German Leica camera and its development, and modern day stage Leica camera's (1925) Became popular because of the size/compact "Buy this camera, and accidents will happen" compact, easy to carry, and unlike other camera's, can take pictures where the object is moving quickly so that "accidents" are captured Seen as a beautiful camera, famous photos taken on the Leica, like Che Guevara photo by Alberto Diaz Gutierrez Some of the Leicas taken of women in the street with fencing pattern on her The camera being like a kiss noise when it snaps The original camera and camera today are like great grandfather and great grandson, more similar than different Rise of Leica due to increased mobility, spending power, and leisure time of middle classes Light-First first edition ur-Leica, would prevent you from getting all out of breath carrying around heavy equipment-optical company individual help design Barnack: 36 frames because its how the film stretched on his arm so it became (35-mm film roll ever since) Many famous photos taken on these: Napalm girl, photo of sailor kissing girl

Philip Gourevitch and Errol Morris

"Exposure: The Woman Behind the Camera at Abu Ghraib," (2008) Article recounted predominantly the upbringing of Sabrina Harman who took the photos in the Abu Ghraib prison, and her experiences there (I think it can be problematic because it humanizes her) Also: It talks about how she used to photograph everything and how she wanted to be a forensic photographer etc. In the article there are letters she wrote to her wife And explanations on why she took the photos, which she claimed are for recording purposes to expose the US But, she did however pose in some of them and interact in them with thumbs up etc. (although this was tried to be belittled and explained in article) Also: At the end of it all she got a tattoo of "Hooded Man" which to me doesn't signify someone who is disturbed and remorseful for their involvement in such an atrocious set of acts Americans in Iraq were supposed to bring new order, new government, end to war, but didn't: liberators had become occupiers >> lead to violence against Americans, attacks on the prison Abu Ghraib MPs were not trained as prison guards, entire prison not to Geneva Convention standards MIs used torture techniques (starving, sexual harassment) for interrogation Photos of prisoners naked, chained to beds Sabrina Harman took the photos to make an expose (show US isn't what people think), rid herself of guilt of complicity, took photos to remember Photos of man with bag over head standing on box with wires tied to fingers, photo of MPs smiling with body of man who died in prison shower room Photos as evidence, documentation Image of Gilligan (hooded prisoner)- most famous of all the photos taken even though it is not the most shocking The dead/naked photos leave nothing to the imagination, pornographic in nature Image is powerful because of its inhumanity, mystery, vague and ghoulish associations

Martha Rosler

"In, Around, and Afterthoughts (On Documentary Photography)" (2003) -Documentary photography is a "social conscience of liberal sensibility presented in visual imagery" Subject of doc photography are almost always helpless/powerless group of people Documentaries of the past- liberal documentaries Lib docs almost never blame the oppressors or colonialists for the poverty and oppression seen in these photographs Forces viewers to have pity on the subjects This type of photography almost always focuses on the braveries of the photographers for daring to venture into the "slums" or sub-cultures (inc. Diane Arbus, Dorothea Lange) Viewers are almost always powerful people who see these powerless people as being caused misfortune by national disasters and other blameless factors Documentary of the present- pieces of alienation in a city or town Exposures on specific abuses caused by people's jobs Exposes sexism and class oppressions Focus of the photos are not the subjects but the photographer Photographers like Lange gain fame for the subject's (Migrant Mother) misfortunes (also inc. "The Afghan Girl" who did not even know of her fame until much later) Festers shame in the working class/poor people New generation of victimhood: victims through someone else's camera Documentary is used as a cover to explain the "conditions of man", which generalizes their struggle and does not allow them room for change Rosler argues that these types of documentaries cannot be "radical" enough to make a change unless documentary photos begin making arguments about social relations Are photographic images, then, like civilization, made on the backs of the exploited? The notion of charity is fiercely argued for far outweighs any call for self-help. Charity is an argument for the preservation of wealth, and reformist documentary represented an argument within a class about the need to give a little in order to mollify the dangerous classes below Documentary photography has been much more comfortable in the company of moralism than wedded to a rhetoric or program of revolutionary politics Especially now, the meaning of all such work, past and present, has changed: the liberal New Deal state has been dismantled piece by piece. The War on Poverty has been called off. Utopia has been abandoned, and liberalism itself has been deserted. Its vision of moral idealism spurring general social concern has been replaced with a mean-minded Spencerian sociobiology that suggests, among other things, that the poor may be poor through lack of merit Documentary creates this "it's them, not us" idea and has become forms of exoticism, tourism, voyeurism, psychologism, and metaphysics, trophy hunting-and careerism In liberal documentary, poverty and oppression are almost invariably equated with misfortunes caused by natural disasters: causality is vague, blame is not assigned, fate cannot be overcome. Liberal documentary blames neither the victims nor their willful oppressors-unless they happen to be under the influence of our own global enemy, World Communism Differences in documentaries made for and by a people, such as the Farm Workers' Organizing Committee with such works as" si se puede, which are not radical works but militant ones Any response to an image is inevitably rooted in social knowledge Woman that was photographed in the famous Dorothea Lange photo of Thompson can't benefit in any way from the photograph She allowed herself to be photographed thinking it would better the conditions of the working poor The world is merely the stepping-off point into aesthetic eternality Monolithic myth of objectivity Now going later to do a rephotographs approach of the subjects: then and now, is still a victimization by someone else's camera of helpless persons, who then hold still on enough for the indignation of the new writer to capture them, in words and images both, in their current state of decrepitude New documentary photographers: do not want to persuade their viewers to reform life, but to know it What they hold in common is the belief that the commonplace is really worth looking at, and the courage to look at it with a minimum of theorizing Anxiety and perverse fascination are two varieties of responses to a spectacle Documentary photography has made arguments that have twisted into generalizations about the condition of 'man' which is by definition not susceptible to change though struggle.

Barbara Kirshenblatt-Gimblett

"Kodak Moments, Flashbulb Memories: Reflections on 9/11" Article entails 9/11 and flashbulb memories Executive order banning amateur photography- "crime scene" Street shrines made with photos ID ones of loved ones, flowers, photographs of missing people etc. Aftermath of 911: Photography materialized the morally ambiguous activity of watching Role of technology video game simulators Project in NY for all photos from people's person experiences with 9/11 housed in an exhibit that was seen by so so many people NY museums try to grapple with response Other exhibits by museums showed journals, murals, art etc. of people coping with 911 Wall of Prayer-originally at Bellevue hospital, now in museum Jewish responses to 911--> services, community events, prayers etc. Muslim extremists identified Jews with mercian capitalism and NY and felt under attack Exhibition called Mirroring Evil created a context for works of Holocaust representation (Nazi imagery) Computer games to kill terrorists and do 911

Jeanne Arnold

"Life at Home in the Twenty-First Century" Studied 32 self-reported, middle-class, dual-earner, southern Californian families from 2001-2005; studied how possessions are concentrated in specific spaces in the home (6) Filming, home tours, scan sampling This seems like a small sample, but the level of detail and quality of ethnographic data reveals patterns across these homes The house= repository for memories + prized things (4) Consumer-oriented societies also tend to spawn widespread collecting of objects (4) American "mania" to consume, which results in overwork, overspending, and over accumulating "Leads to bankruptcy and massive credit debt, in addition to physiological stress and a sense of failure as the American dream goes awry" (4)" Observations: Second garage fridge for surplus food→ overconsumption/overspending Shifts in material culture Cathode ray TVs→ flat screens Stylistic + technological variations in cell phones Themes: Material saturation garage = storage area Fridge panel= iconic place that tells of the possessions in the rest of the house Food: Meals are rarely eaten together; different rooms, different times Tons of frozen, canned, boxed foods Food overflows into garage storage areas and second fridges Vanishing Leisure Cluttered spaces that visually induce stress and intrude on indoor leisure time Kids don't go outside Kitchens as command Centers Central locus of domestic life The kitchen is the area for various family activities: daily planning, bill paying, homework, eating Magnets, calendars, photos, important phone numbers are on the fridge Bathroom Bottlenecks Few bathrooms impede daily routines Master Suites as Sanctuaries -Least used space in the home -Spa-like retreats -Kept tidy Hold positive psychological significance for harried parents Technology: Both isolate and unite family in work and play Possession of Space: Photos on walls expressing family identity and record of important moments Also kids' achievement awards Affiliations with various nations, religions, pop culture icons, and sports heroes are ubiquitous Kids' rooms branded with their names

Susan Sontag

"Looking at War," (2002) Men make war Terrible photos of war/suffering are shown in this article During the fighting between the Serbs and Croats at the beginning of the recent Balkan wars, the same photographs of children killed in the shelling of a village were passed around at both Serb and Croat propaganda briefings. Alter the caption: alter the use of these deaths Photographs of an atrocity may give rise to opposing responses: a call for peace; a cry for revenge, or simple the bemused awareness, continually restocked by photographic information, that terrible thing happen Stoicism is needed to get through breakfast newspaper with pictures that could make you cry in it The Spanish Civil War was the first war to be witnessed in the modern sense: by a corps of professional photographers at the lines of military engagement and in the towns under bombardment, whose work was immediately seen in newspapers and magazines in Spain and abroad Vietnam war was the first to be witnessed day after day by television cameras, close intimacy with death The understanding of war among people who have not experienced war is now chiefly a product of the impact of these images The hunt for more dramatic-as they're often described images drives the photographic enterprise, and is part of the normality of a culture in which shock has become a leading stimulus of consumption and source of value mass produced death War is not a spectacle Beato 1858-constructed the courtyard as a deathscape, stationing some natives by two pillars in the rear and distributing human bones about the foreground in what was called: "Ruins of Sikandarbagh Palace" When there are photographs, a war becomes "real" We live in a society of spectacle, each thing has to be turned into a spectacle for it to be interesting to us Photos as an orgy of universal atrocity It is always the image that someone chose, to photograph is to frame and to frame is to exclude War photos can either be used to instill empathy from civilians and persuade against war or be used as propaganda and national support Roger Fenton not edward Fenton sent to Crimea by British government Caption, context is everything: need to know what side of war the subjects are on to know your perception First combat photos in Crimean War, WWI aftermath photos (dead bodies, landscape); not until invention of Leica and Spanish Civil War had combat photos in battle Photographs more memorable than video: a single image, like a quotation Cameras ability to take photo quickly >> since it has been invented it has been associated with the past, things that do not exist anymore, therefore death Document death on wide scale- concentration camps, Hiroshima and Nagasaki WW2 almost unanimously agreed to be necessary to defeat Nazis gave war photojournalism legitimacy Appetite for seeing people in pain almost as long as that of naked bodies- innately humanizing quality; provocation- can you look at this image without flinching? Wanting to document war goes back to 1630s etchings of French soldiers abuse in Lorraine Even war photography has bias of the photographer, their POV, could be a doctored image First full scale attempt to photograph war was American Civil War Only since Vietnam War have war photos not been staged with certainty Photography mix between reality and art also applies to war photos Photographs caused indignation for Vietnam War in America 2 views: 1) what is portrayed in the media shapes public opinion and 2) we are so oversaturated with images that we are callous to what should be meaningful to us The more we see an image the less real it becomes, images on TV we change the channel

Philip Gefter

"Love Those Royal Family Photos? It All Started With Victoria" Royal family photography began with Queen Victoria in the 1840s Strengthened relationship between monarchy and people through accessibility Photographed Prince Albert's dead body, mourning photos Photographs used to control her public image

Jeanne E. Arnold

"Mountains of Things" Talks about the consequences of American families having a lot of possessions Parents point to objects with special meanings with pride during house tours Art, heirloom furniture, souvenirs from travels Newer items significant because of monetary values, while other items have sentimental value Great mountains of things in the home drain our labor + energy and take from the attractiveness of the home Sometimes, clutter takes a psychological toll Engage in work-competitive spending +purchasing-fragmented leisure cycle Home as main area for self-expression US cultural norms incessant pressure to acquire more Shop till you drop mentality Clutter as a concept Density, More hours worked, less time to have for family and leisure Counting objects that are visible Mothers complain about environment as stressful, chaotic Garages are the overflow sites for objects Interactions, vanishing outdoor leisure and gender differences in times pent and limited indoor leisure Garages and home offices most filled spaces Kitchens and living rooms most used spaces in the house Fathers seem pretty oblivious in study about concerns over clutter Everyday photographs up is distinctly American Consumption to use and then throw away, target, ikea, not inherit items from previous family generations Waste in American society Television main activity Mothers have less leisure time than fathers during 4-6pm weekdays Have mountains of things drains our labor, energy, and detract from the attractiveness of the home

Kenneth, Brower

"Photography in the Age of Falsification," (1998) -The wildlife photography we see in films, books, and periodicals is often in its design, import, and aesthetics. It may also be fake, enhanced or manufactured by emerging digital technologies that have transformed, some say contaminated, the photography landscape. -Photofakery nothing new, right after Daguerre's initial success with camera obscura -Photos discussed: The polar bear in antarctica Nat geo cover where the pyramids were moved in relation to the camel riders to make room for the logo -Author's experience in Galapagos -Examples about how a magazine editor wants a certain look and the photographer will go to travel and create the settings of that photo, killing antelopes and bringing a captive leopard with him and bringing it out to put next to carcasses to look like the cheetah ate it And then place the scene against a background of a sunset Disney documentaries also, showed a hawk killing a flying squirrel when in reality, an assistant grip stands on tall stepladder with such of flying squirrels. Grip tosses squirrels-mpaid rodent extras-skyward one by one, as in skeet shoot, until trained hawk, after dozens of misses, finally gets it right Art Wolfe example of zebras from Migrations book, in which he altered a few to add a bunch of them to fill the frame by copying a few zebras several times (thus, he digitally altered the image of nature 1994) Joseph Holmes' lily pads 1979, can change one pixel in the image to perfect it, he has total control And Ansel Adams Moonrise, Hernandez, New Mexico 1941 piece regarding how the random clouds in the upper sky annoyed him and in the 1970s he arranged in the darkroom for the clouds to evaporate ALSO: Adams deleted the letters: "LP" from a photo Winter Sunrise, The Sierra Nevada From Lone Pine, California of the dark foothills of the middle ground. This text was inscribed by the town's high school students with whitewashed stones. Also insight into Rowell's house and walls which house a famous image with a rainbow extends over the Potala Palace, Lhasa But a picture he did remove was of a bear that was an actor, that he photographed, but it was a trained bear and that disappointed people so he took it down (bear's name Bart) Also pyramid photo where the pyramids were moved in relation to the camel riders to make room for the logo, went from a horizontal to vertical photo A composition of a cheetah family portrait is discussed as one of Art Wolfe's in which it appears that there is a family, but its two zoo photos combined and situated around digital grass And another Art Wolfe photo of the polar bear placed in Antartica, when it was actually a captive zoo polar bear from Ohio, and its butt was dirty and it didn't move in any way, showing it was used to being around humans, not like a wild polar bear, and the zoo bear was placed in a photo of Antartica

Alec Wilkinson

"Remember This? A Project to Record Everything" The article is an extensive interview with Gordon Bell of Microsoft and his project to record essentially everything. They talk about scanning documents, scrapbooks, photographs, business cards -- essentially anything tangible-- and being able to get rid of the physical copy. Bell walks around with a device called the SenseCam that takes photographs at fixed intervals as an archive of his day It has an option to record as well, but Bell only records his conversations. Despite his archive, Bell had a box where he kept various possession (diploma, frat certificate, degrees, patents, medals, photos) that he can't bring himself to throw away -Lifelogging -Going paperless -Your own life movie as it can video tape/record conversations, you can watch it back -Potential algorithm that organizes information of photos and dates

Annette Kuhn

"Remembrance" Kuhn talks about an image where she was young and holding a little budgie (pet bird). The reading emphasizes the importance of memory and the family album Photo is a prompt that sets the scene for recollection (472) Mom says photo was taken at "Bournemouth"; Annette scribbled this out and replaced it with "Broadstairs" Annette says caption was an effort by her mother to erase her father and insert herself into a place where she was not visible/present Photo can be a site of conflicting memories Family album is building the narrative of the family-- one moment in the cultural construction of family Has a fixed pattern that is culturally circumscribed Has mom, dad, few friends Dad was not her biological dad and her mother attempted it seems to try to remove him from the family history The struggle over the past continues in the present There can be no last word about my photograph, about any photograph Parents are dead, so I suppose she will have the last word Mother and father conflicts, mother not in pictures, mother tries to make over the "truths" of the past

Scott (Sally Mann article) and Collins (Jessie Again)

"Scott (Sally Mann article) and Collins (Jessie Again) " In Sally Mann article: Mann's relationship with the painter Cy Twombly, were friends before she was born Mann and Twombly shared an obsession with place In 1999, she photographed his studio a surprisingly humble spot for a world famous painter, a rented storefront on a main drag) She documented the artistic extremes of Cy's last productive years He disliked having his picture taken Mann offers then, something rarer, a window into the creative process itself -His space was jam-packed with objects -Exquisite reflection on absence, loss of great painter Jessie Again article: -25 year old Jessie, naked photos taken by her mom of her by river -Past four years she's been posing again for a new collection by photographer Len Prince -Had a rough time growing up, after graduating college she moved to a plantation and grows squash and peas -Lives 15 min from where she grew up -Jessie posed nude the day after meeting Prince on a pedestal -At the end of the afternoon, he accepted her as his muse officially -This partnership has filled a void in her life -"Jessie Mann: Self-Possessed" -Sees her alliance with Prince as an extension of the work with her mother -She is interested in the significant of being a character in the story of art

Katriel and Farrell

"Scrapbooks as Cultural Texts: An American Art of Memory" Scrapbook is a "genre of self"- organizing a life history: "the social construction of the self through time and the transformation of experience through material readily at hand." Art of memory and a rhetorical practice of the construction of self Cultural genre/socialized process: influenced by baby books, help from mom Gender specific: female role models, boys do not keep them (women keepers of private/home life, men of public) 3 Activities: 1) saving- making the ephemeral something that will eventually physically deteriorate, selected moments to form a perfect life 2) organizing- one event, in chronological order, or in a collage 3) Contemplating and Sharing- semi-public, demonstrated caring about the subject of the book, on its own the text is an incomplete narrative (people don't feel comfortable letting others look at it alone) What goes into Scrapbooks: 1) tokens of participation 2) tokens of social or civic recognition 3) tokens of social bonds and affiliations 4) traces of ritualized events

Ron Rosenbaum

"The Great Ivy League Nude Posture Photo Scandal" 1940s-1960s Project done on undergraduate Ivy League students, and Seven sister colleges, was actually for anthropological research (the project was that these undergraduate students were photographed naked under the false pretense that the study was to measure posture) -William Herbert Sheldon Earnest Hooton ran proejct Done to all incoming freshman, narrow sharp metal pins placed too -Trying to see the influence of intelligence, temperament, morals and probable future success on the body (Rosenbaum Reading) -Divided people's body types and concluded their future because of them, body types and social hierarchy -its still unknown how many of the pictures have actually been destroyed, some were achieved by Sheldon -Nazis conducting similar surveys -Eugenic experiment, Hillary Rodham and other elite figures of US society were photographed -Girl told her parents and then the project ended, was under scrutiny, not allowed to take more -Author of photograph is on a quest to find people to interview finally, finds Sheldon's best friend who describes to him where the photographs are located and what happened -Finally got access to photographs at archive in Washington -Tries to make reason of them, many were burned, gotten rid of -Women role in this in the sense that there are psychological problems that arise, women always judged for their body appearance

Beaumont Newhall

"The History of Photography" This text encompasses the initial stages of photography, the figures that made it prominent and the images that emerged from the first experimentations with chemical aspects to create photography -Camera Obscura ...prevents human intervention/interpretation -Camera Lucida -Fever of Reality -Ocularism - Daguerreotypes....leads to tourism photography.... Which leads to stereoscopes Daugerre vs. Talbot, French vs. English

Linda, Nochlin

"The Imaginary Orient," in The Politics of Vision. (1989) -Discusses the idea of the Orient as a creation by the west, and the ways the orient is depicted in imagery -The unifying characteristic of 19th century Orientalism was its attempt at documentary realism -Defines orientalism as a mode for defining the presumed cultural inferiority of the Islamic Orient... part of the vast control mechanism of colonialism, designated to justify and perpetuate Euro dominance -Images of the orient reveal a constructed reality, that of the colonizer not the actuality of the orient -Depict artist's fantasies -Delacroix painting: Death of Sardanapalus created before the artist's trip to North Africa -Painting depicts sexual domination of women -Orientalized poses, erotic extremism, safistic impulse in the painting, also the ideology of male domination: the connection between sexual possession and murder as an assertion of absolute enjoyment -Fantasy of possessing women's bodies, are Orientalist erotica -Gerome's Slave market: looks realistic -Moralistic voyeur sees the women as trapped against their will -Gerome's pieces seemed like objective ones to non-versed readers, just documenting with painting what that reality is.. Gerome- Black and brown subjects are mystified but so is the observer of the painting; we are not welcomed amongst these audiences in the painting but removed and supposed to take in both the spectacle and spectators Absence of historical political reference Absence signifies presence: mystery, Westerners control the gaze, absence of art to construct realism (authenticating details i.e. tile patterns) Depicts easterners as "idle" never seen doing labor or developing industry, letting their own culture sink into decay Delacroix- men power over women, but people were outraged Gerome female nudity- more accepted because of a pseudo scientific, realist painting method; Otherness of the subjects Manet paintings rejected- artist touch can be seen, women are in paris, availability of sex as transaction in the west Desire for authentic with tiles and basins but also art in the female nudity (white virginal body vs. black and rugged labor of slave, passive, being prepared for service to sultan, elements of lesbianism) Avoiding a shared humanity- doesn't depict north africa because of French in Algeria

Christopher Pinney

"The Parallel Histories of Anthropology and Photography" -Photography appears as the final culmination of a Western quest for visibility and scrutiny--> it stands at the technological, semiotic and perceptual apex of vision, which itself serves as the emulative metaphor for all other ways of knowing -Photography although often claimed as either good or evil of a Western civilization grounded in oculars has always suffered 'moments of unease' -Sontag sees camera as predatory: aimed, shot, loaded -To photograph people is to violate them -In photography, as with 'discipline" the photographer is invisible behind the camera, while what he sees is rendered completely visible -Evans Pritchard Nuer photo from tent towards outside: modern -western figure looking out at others -Anthropometry, with anthropology, measuring the native or the others etc. -1st anthropology and photography inception to the turn of the century, marks a productive union between two practices intent on "de-platonizing" the world, and sharing a common language of the penetration of light and the transcription of temporal disjunction, 2nd movement (manifesting from turn of century) gradual displacement onto an invisible internalized world of meaning in re-platonizing anthropological strategies such as a concern with "social structure" Fieldwork is central to the "ritual of photography" Everard Im Thurn: suggest the abandonment of what had been a quite clearly articulated anthropological privileging of the still and the silent, over the quick and the living The idea that we value our visual sense, prioritizing it and trusting it more than our other senses: Ocularism -Ethnographic presence -Western knowledge-power with photography-as vision -Superiority and difference in anthropology's rhetoric of truth -complaints of the time concerning the Europeanization of non-western people in pre-photographic media -Privileged nature of anthropologic representation -Kaiji chiefs of Nigeria, Kagoro women

Catherine Lutz and Jane Collins

"The Photograph as an Intersection of Gazes: The Example of National Geographic," (1991) *7 types 1. Photographer's Gaze - viewfinder (throwing eye behind little square to create bigger picture) o The picture o Vantage point, composition, subject - choice is photographer's not subject's o Choices made 2. The Institutional Gaze/Magazine Gaze o Whoever makes choice about publishing photos o Days of film: 250-300 rolls of film, 36 exposures per roll, 11,000 photos per assignment o B/c of costs, quickness moved to digital photography - more reliant of being able to capture something multiple times o So editors cut this down o Editors can only choose 30 or 40, their decisions to commission articles and choose photos o Photographer quits having authority, now it's editors o Also caption writers, photographer does not have final say o Loose photographer's intent 3. Reader's Gaze o Read articles based on photos o Idea of they are giving you perspective, inserting their idea of this place into your mindset o Imagining yourself there, and putting yourself into area o What you imagine, what the pictures provokes, and what you remember afterwards (before, during, after) o Arm Chair travelers 4. Non-Western Subjects Gaze o When taking picture of someone that is not Western 4 types of gazes: 1. Confront camera 2. Look at something or someone in picture frame 3. Might look off into distance 4. Or not gaze at all (ex. massive photo of lots of people, super zoomed out) Non-Western subject: editor's want that compelling gaze (ex. Afghan girl b/c confronts the camera slightly off-center) Where the portrait and camera gazes are important roots to bring people together, but often one-way street - we don't gaze back at Afghan girl as we know her 5. Westerner's gaze framed in the pic o Readers can identify with those people, imagine themselves in foreign land Photographed: 1. Alone (or w/ monument for proving you were there) 2. With others of their kind 3. With locals - Comparative basis Westerner's gaze is turning into the colonial gaze 6. The Reflective Gaze - Gaze returned in Mirrors and Cameras Idea of creating second self - tool for self-reflection, reflective doubt (Berger: women peering into mirrors doubt their attractiveness) - self knowledge (power) - child-like obsession, sense of wonder - eventually identify as "me" → photographers often bring back photos of person in tribe, associate sense of wonder Used as a power tool, colonization If camera given to native subjects, colonizers run risk of loosing colonial power b/c now camera reflected at camera Colonial: subjects often not granted a photo of themselves (ex. Afghan girl knew was being photographed but never got the photo and had no idea how popular the photo became) 7. Academic Gaze o Less dominant, more reciprocal if knowledge of intent and take into account who we are photographing o Idea that we can take an image and use it more as a way to understand and start a dialogue by giving a camera to everyone and letting them discuss o Trying to take power structure out of it o Come full circle - idealized gaze b.c we take all the other gazes into account, more oriented into seeing how a scene or viewer might be changed by all these gazes o Ideal, smart, contextualized

Susan Sontag

"The Photographs are Us," (2004) Photographs are us. That is, they are representative of the fundamental corruptions of any foreign occupation together with the bush adminstration's distinctive policies. The horror of what is shown in the photographs cannot be separated from the horror that the photographs were taken with the perpetrators posing, gloating over their helpless captives Examples: Lyncing in america with slaves Abu ghraib Suggest that torture is more attractive, as something to be recorded, when it has a s exual component. Abu graib - photos of Iraqi detainees in sexual positions among other dehumanizing acts To lived is to be photographed, to have a record of one's life. Pictures as evidence There was an avoidance of the word "torture" This depicts an administrative and direct attempt to construct things in certain ways Just like the refusal to called the Rwandan genocide a genocide Geneva convention of 1949 determine limits To acknowledge that Americans torture their prisoners would contradict everything this administration has invited the public to believe about the virtue of American intentions and roles in the global stage Even the President refrained from using the word "sorry" in order not to damage America's claim to moral superiority The problem was not if the acts were done by individuals , which all are, but rather whether it was systematic, authorized etc. Technicalities in defining status of detainees as unlawful combatants denied them rights under the Geneva convention, so legalistic definition loop holes challenged what happened as maybe not against the rules American soldiers seen gloating over subjects Lynching pictures were in the nature of photographs as trophies-taken to be collected, stored in albums, displayed. The photos at Abu Ghraib however, reflect a shift in the use made of pictures-less objects to be saved than messages to be disseminated, circulated Torture photographs and photos of soldiers having sex with one another, so most have a pornographic element Such "stress" as seen on the victims' faces does fall within the Pentagon's limits of the acceptable To live is also to pose The pictures were "fun" they were entertainment, meant to be circulated America has become a country that fantasizes on the practices of violence which are seen as good entertainment, fun. (College frats with hazing, sports, video games etc.) All detainees taken as potentially knowing something, meaning all treatment becomes indefinite as it is possible the person "might" know something and they won't stop until he/she says something America wants to construct its soldiers as courageous, honorable...

Malcolm Gladwell

"The Picture Problem" Photos are supposed to clarify, but they often confuse Talks about pictures in different contexts Gulf War: Colin Powell presented labeled imaged to the UN in an effort to prove that Iraq broke international law Had images of truck and claimed it was a decontamination vehicle Later examination by a CIA image analyst said it wasn't a decontamination vehicle Another analyst said it was a fire truck WWII: needed to hit targets more efficiently Having bombs ⅕ of their meant you could carry 5x more bombs, meaning you could hit 5x more This also meant you needed information 5x more specific in order to hit these targets Mammography: Mammograms cannot definitively tell you whether or not you have cancer visibility issues: difficulty determining what is abnormal because of high levels of individual variability

Lauren Collins

"The World of Fashion: Pixel Perfect, Pascal Dangin's Virtual Reality," (2008) Article explores Pascal Dangin's work as the premier retoucher of fashion photographs Makes the humans look like super humans His success lies in his ability to marry technical prowess to an aesthetic sensibility Article explores his life and work And shows a Photograph by Patrick Demarchelier from 2008 that is a naked woman and he touches it up and makes it look nice, say lighting wise, plumping certain features, thinning others, shortening some, elongating others etc. He did work for a Prada campaign in the spring of 2004 where he used a photoshop tool called a smudge brush in adding extra color to the pics to romanticize the look, giving the pictures a dreamy, impressionistic texture Curiously, he claims he is free of vanity Hair to him is one of the most important retouching that you can do, Because he looks at life as retouching. Makeup, clothes are just an accessorization of your being, they are just a transformation of what you want to look like He believes creativity should lead technology Photoshoot software he's working on coming out with along with other ambitions like a photography school

John Collier Jr. and Malcolm Collier

"Visual Anthropology: Photography as Research Method" -Mapping and sketching in of environmental areas -Camera's role in this -Photography's tool for orientation, military WWII pilots passing Burma -Photo murals seen with photos of environment perspective and pilots had to memorize images -Aerial photography for mapping -Aerial photography as sociocultural data -Relation to agriculture to geographic features, field patterns, large fields, small fields -Land divisions, walls, hedges, fences -Ground-level sampling of the characteristic ecological features--> to project onto the diagrammatic map the full detail of ecology and human activity -Villages have distinct designs -Each culture uses land in a particular way -These photos alert us to changes that are occurring in the region -Changes indicate there are now new buildings? This may be a sign of declining agriculture, rising land values, or other factors unknown, but the evidence of such an enrichment would alert us to questions we would need to ask later -Panoramas taken by Malcolm Collier over an 18 year period from the same rock overlooking the Taos valley in New Mexico provide an example -Early panoramas showed clearly defined separations between residential and farm lands -10 years later no huge changes, but a big part of land had clearly gone our of agricultural production -Areas of consumption--> stores, centers, etc. -It can be used to define spatial organization, community ideals, dynamics etc. -Work undergone to photograph communities, the houses, large and small -Economic, psychological, cultural factors looked for to give insights of signposts of well-being -Economic: fences, gates, mail boxes, trucks and cars in yard etc. -Cultural and psychological: Intrinsic care of house, decorative painting, curtains in windows, self-expression in garden etc. -Each culture has its own signposts of well-being -Door-to door questioning and surveying in San Francisco urban homes and guide of protocol to do it -Cultural inventory idea, the home reflects who people are and the way they cope with the problems of life -Pictues of images from homes, with photographs, knick knacks, books etc. -Project of cultural inventory of homes in Peruvian Andes and urban setting in California -Innovation was most evident in the homes nearest the center and diminished toward the outskirts of Vicos -Photographed the Peruvian town, domestic hygiene practices were unaffected by educational programs -Improved potatoes--> agricultural innovation -Indigenous people relocated and SF photographs of family relocation -Informal shrine photographed in Sioux home, showing adaptations to urban life -Listings of what was in each home -Successful adaptation to urban life: two factors: education and retention of identity and continual engagement with such cultural activities

Susan Slyomovics

"Visual Ethnography, Stereotypes, and Photographing Algeria." In Orientalism Revisited: Art, Land, and Voyage. (2012) "The camera was not merely a device to capture images, and photographs functioned as more than 'sensorially restrained objects: mute and motionless variegated rectangles'. Photography contributed to creating meaning and significance through the everyday, repeated and systematic practices f picture taking by the French in Algeria" Colonial photographer coded the photographs so that they were associated with certain images, often determined by the imperial agenda that was installed, consciously or unconsciously, in the photograph. Photography produced knowledge (Pseudo-knowledge) about Algeria, but the way the French imagined Algeria. The colonial Harem by Malek Alloula analyzes a collection of postcards displaying "exotic" images of Algerian women, photographed by French colonists and sent back to France. According to Alloula, this was done as a sign of conquest; he asserts that the postcards visually represent power relations between colonized and colonizer. The book provides commentary on the images, especially those depicting eroticized "scenes of Algerian women" during the French colonial regime. Camera and conquest overlapped Biometric technologies that marked the French colonial bureaucratic presence through a set of colonial tourist postcards of Algeria, called Scenes et Types, and consider these images in relation to parallel and coeval practices of French-imposed identity photographs and anthropometric classification systems. Also: How does a culture seeking to become independent of imperialism imagine its own past? The postcard is everywhere, covering all the colonial space, immediately available to the tourist, the soldier, the colonist. It is at once their poetry and their glory captured for all the ages; it is also their pseudo-knowledge of the colony. It produces stereotypes in the manner of great seabirds producing guano, the fertilizer of the colonialist vision Scenes et Types: belong to a genre in which an individual appears within the frame with no context whatsoever Although, a double bind is created because "picturesque" Algerians depend on tourism which invented the 'picturesque' while tourism perpetuates the 'backwardness' that legitimated French domination Captions here are vague and general and give no further context to reality Such attribute to part of the racial sciences that attempted to homogenize groups in order to classify and categorize them: Such was done with Topinard and his ideas on ear shapes which accorded to "the Berber type" and how it projects out but it was inconsistent and debunked Was labeled as Berber ear when in fact it was an Arab ear ID cards: invention of the standard frontal profile shot to identify criminals with photos bearing likeness to the person was used not only on criminals but also on the colonized population of France's overseas possessions This is seen as an apparatus of French state control Algeria was subjected to a 19th century European "culture of identification" in which the personal name is the essential component of the modern state system of identification: In France, laws governing personal names, restricted the French to names duly registered at birth In contrast to French naming practices, pre-colonial North African names consist minimally of a first name followed by the father's name and the grandfather's name, but often include a string of names representing the holder's moral, physical, or social qualities, play of birth or ancestry, and tribal affiliation or membership in religious orders French as Algeria's sole language also meant that the passbook identifications had to be in French not Arabic and had to have French forms of identification with names (in order to create order and control over population) Identification is under police control in Algeria Also as we talked about with knowing characteristic body parts All leads to making the people "legible" or readable, identifiable, controlled, surveillance And French imposed bureaucratic controls were maintained after Algeria's independence from France in 1962 However, the identity card, an artifact born of colonial control and post-indepdence repression, has been transformed into memory devices, the traces of remembrance with which to conjure the dead and missing The ID cards serve as evidence of existence, the picture is all that remains Now family members are using them to find their families Mark Garanger published a book of photos called Femes Algeriennes in 1960 that consisted of ID images from when he was in French army in Algeria, he shows them now to bear witness on their behalf Official school picture of all all-girls school in Algeria And one of the girls is professor's mother-in-law whom she never met Her family recounts stories about going out in public without her veil etc. The photo of the class is considered "indigenous photography" as it is the photographic techniques that are disseminated to the natives Getty Museum exhibit from 2009, and Adams There are gender factors here of course, as Adams is a white american male, re-unveiling the Granger pictures However, a contract was signed him to ensure that the ownership is Garanger's however, who do they belong to truly?

John Berger and Jean Mohr

"Ways of Seeing" Page 9: Photography is a "way of fixing the camera image by the action of light upon substances sensitive to it" → technical definition Berger & Benjamin give reproducibility Page 11: "fever of reality" sickness/passion Exact copy of nature and at the same time to satisfy this craving for reality that translates itself into technological processes Idea that there should be no human intrusion (ex. Camera Lucida & Camera Obscura) Perspective, beam from lighthouse, appearances travels in and calls them reality, perspective makes the eye the center of the visible world, the eye can only be at one place at one time In photography appearances were not a single center and travel and can be seen at many places at once Photography explains the world unknown The invention of the camera has changed what we see and how we see it The painting on the wall can only be seen in one place and one size the camera makes it at any size and printed to be in any place Now you can have the paintings/prints in the context of your own life, in wherever you are, now they don't belong to their own place let's say in a church etc. Paintings had uniqueness that was original to them because they only existed in one place The icon is the extreme example Worshippers converge upon it Now the image belongs to no place, the images come to you, you no longer go to them, the pilgrimage is over Reproductions distort Mysterious because of market value, depends upon it being genuine Art must be stripped of false religiosity which corresponds to its money value The camera has multiplied meanings for a painting, and the original meaning is gone Stillness and silence of paintings in real life prove a difference that seeing on the screen doesn't provide Paintings are now used for arguments and points, manipulated, the movement of the camera in video form, can zoom into a detail of a painting and can show something that is now emphasized and before wasn't therefore changing its meaning, the order these images are showed also alters its meaning Narrative depends on unfolding time, but in a painting there is no unfolding time, and all the images are in the painting simultaneously Music can change/alter music over paintings Rhythm too can alter original meaning Camera angles too affect how image is perceived The meaning of an image can be changed according to what you see beside it or after it Reproduction makes the meanings of works of art ambiguous Reproduction of works of art can be used by anyone for their own purposes Reproduction of art can be used in a collage form with pin ups of their own drawings and clippings, to form your own experience

Abigail Solomon-Godeau

"Who is Speaking Thus: Some Questions About Documentary Photography," in Photography at the Dock: Essays on Photographic History, Institutions, and Practices. Documentary photography not employed with regularity until 1920s, 100 years after invention (historical not ontological); photographic uses constantly in flux Late introduction to term- photography was innately documentary Early photography of everyday items, daily life = photos admired for unobjective transcription of reality Modern documentary photography began in 1860s including Crimean War photography Can photography be truly objective? Photos taken to confirm preexisting ideologies, photography is inherently selective Reformist, retrospective documentary photography= How the Other Half Lives Issues of public address, reception, notion of project not single image 1880s- photographing living conditions of immigrants, concerned with social progress We must ask- is place of documentary subject given in advance? Does it involve a double act of subjugation- social world producing its victims and Image being produced for the same system that engenders the conditions it re-represents Instrumentality- political ends Lewis Hine, FSA photography Subject as spectacle for a different class Immobilizing effect as documenting victim as a "fact" Photography favors individual over collective, poignant over militant= subjects had to be staged to look more somber, dirty Photographer desire to build sympathy for subject i.e. Dorothea Lange "deserving poor" Photograph's context is determinant of its perceived meaning Dominant social relations reinforced by imaging those who do not have means to capture themselves Without social progressivism, expose can turn into tourism, voyeurism, exoticism Structure of camera- fixed focus, one single moment = ideological construction, intentional subject (aggression- shooting a photo, aiming camera) New documentary photographers- control over image distribution, comprehending embedded institutions in advance Jacob Riis 1890 "How the other half lives" which produced images that Sally Stein analyzed and concluded that were ridden with a dense matrix of bourgeois social anxieties and the need to assuage them This matrix was constituted by the threat posed by large numbers of poor, unassimilated recent immigrants, the specter of social unrest, the use of photography as a part of the larger enterprise of surveillance, containment and social control, and the imperatives of "Americanization" In FSA photographs: when subjects smiled into the camera, they were stage-managed into more somber poses; sharecroppers who wore their best clothes to be photographed were told to change into their ragged everyday wear, persuaded not to wash berimed hands and faces for the camera Thus, the images of the "worthy" poor as opposed to the "unworthy" that were promoted during this New Deal era Dorothea Lange image: 1936 Migrant worker mother and child, etc. Her images were to be judged as the deserving poor, and thus the claim for redress hinged on the individual misfortune rather than on systematic failure in the political, economic and social spheres. An attempt to build sympathy into viewer, turning people into objects of compassion Child laborer, tenant farmer, disenfranchised black, the (once) living subject whose existence testified to the injustice and abuses bred within a political and social system, now becomes testimony to the photographer's eye and the photographer's art A photograph's subject is rarely neutral or unmarked to begin with New form of documentary takes account of photography's textuality; its embeddedness within discursive or institutional systems that the photographer must try to comprehend in advance (photographers such as Martha Rosler, Carol Conde etc.) who also include an insistence on maintaining control over the work in terms of exhibition, publication, or distribution

Camera Obscura Santa Monica Experience*

-Darkroom with rotating metal turret and hole in roof with a mirror at a 45 degree angle -Stronger image if light is brighter outside, more focused image if titled -Mechanical extension of the eye -Experiential vs. visual ("Fever of Reality", eyewitness vs. hearsay, replicates reality, security footage, surveillance, ocularism, truth) -Ephemera - image is constantly changing and moving -Still depends on human interaction -Need isolation to observe 1 dimension

"Leashed Man"

-Image taken at Abu Ghraib Prison in Iraq by US military person -October 2004 images released on 60 minutes -Displaying torture, abuse and maltreatment of prisoners -Second most famous photo of this prison EX: Lecture - Leashed Man (color photo, woman soldier (Sabrina Harman) holding leash on Iraqi detainee neck) In documentary film, the claim is that there was no dragging, but that the photo looked like it

"The Afghan Girl"

-National Geographic Image by Steve McCurry -1978-1979 -Formed into diptych (original photo and recently photographed version) EX: Lecture - The Afghan Girl (color) Taken with Kodak film Reflects the NatGeo Principles of Photog. 1) Fairness 2) Beauty 3) Artistic 4) Instructive Sharbat Hula 1985-photo taken in 1984 Pakistan, taken across border, 12 years old Found again 17 years later, unaware she had become the face of national geographic, unaware she was popular Iris scanning, anthropometry, freckle scanning, etc. Example photo is the first of her when she was young, wearing red/orange headscarf covering her, her hair is showing a little, it is brown and her eyes are a piercing green and her face is an olive tone This was a national geographic cover with the yellow border around it 1985 cover

Essay on Documentary Photography*

-Photography is witness, as evidence in legal sense -Type of Documentary Photography (War Photography, Portrait, Anthropometry, National Geographic Image [beautiful, color, true, instructive] -Visual Toolkit of Documentary Photography (Captions, Interviews, Participant Observation, Ethnographic Notes, Maps) -Documentary Image Paradigm (Immediate, Historical) -Do images speak for themselves? (Yes, image is better than work, viewer sympathy) (No, aesthetic, beautiful, spectacle). Anthropologists say what you see in images is not what's out there (photo fakery, cropping, POV, creating sympathy) -All photographs tell you about the politics of representation EX: Solomon Godeau Article - Musical Evening Given by French Officers in the Ile, New Caledonia, 1870 (BW, Natives sit and surround French musicians in front of straw home, piano); Afghan Girl by Steve McCurry in 1985.

Spirit photography

-Photography that attempt to capture images of ghosts and other spiritual entities EX: Lecture - Iris and the Gnome (BW, 1920, crease in photo shows faulty, man hands on woman) Depicts a young woman wearing a pointy hat and white dress in the woods, in the grass, peering down to a fairy 1970 England is when it was debunked, but, two women claimed you could photograph fairies, they claimed fairies were camera shy, how do we know this photo of a girl sitting in the grass with trees behind, the girl sits in a long white dress on the grass, wearing a pointy cap and looking/interacting with a fairy, turns out the hand is fake too, it's a collage, something has been photographed elsewhere and put in here

Montage

-Process or technique of selecting, editing, and piecing together separate sections of film to form a continuous whole -Photomontage is the process and the result of making a composite photograph by cutting, gluing, rearranging and overlapping two or more photographs into a new image EX: Lecture - "Antarctica" i.e. National Geographic Polar Bear (color, sitting looking over icebergs, inauthentic because dirtiness of bear & no polar bears in Antarctica)

Bracketing

-Technique of taking several shots of the same subject using different camera settings -Ensures high dynamic range -Manipulating, moving your camera a little to left or right, this can mean trying different exposures (for professionals) for anthropology it means contexts (giving spatial contexts-showing what's around-moving camera slightly to show this) Bracketing means numerous possibilities you keep bringing into it, allows you to be less selective by adding other possibilities of light, space etc. The technological side is controlled now less by dark room specialist and more by photographer In dark room you could use manual techniques to play with light coming in Above this is where anthropology draws the line! Example: A color, google image of a fire hydrant that is photographed in different exposures from dark to light

icon

1. Image 2. Divine 3. Immoveable 4. Non-reproducible 5. Has an aura 6. Performative- meaning humans have to go to it, pilgrimage etc. 7. Icon doesn't care about us, demanding, prescriptive, impersonal, we place ourselves in them 2ND MEANING is =ICONIC 1. Image that represents something else Example: ID photo represents you, but isn't you, the id photo is iconic One-to one resemblance While icon is the image itself! Example: Our Lady of Guadalupe located in Mexico city, is a pilgrimage destination of the Catholic church, it's a painting of the Virgin Mary depicted in tan toned gown with a blue veil/cloak with stars on it that covers her hair and body, her eyes are looking down as she puts her hands together in prayer, around her body is a glowing halo as she is being held up by an angel who is beneath her, near her feet Located in Mexico city, Mexico People come to pray to her and have it as a spiritual journey, such also happens in the Catholic church with journeys to La Salette and Lourdes both in France.

Kodak

1830s-invention of photo May 1888- Kodak camera "You press the button, we do the rest" It was $25 Kodak- people were accused of privacy or against their will → paparazzi The subject and the photographer started to be at odds Promoted as a snapshot camera 1893* "Kodak girl"- realized they could use photography with advertisement Female bodies selling Females had the camera now Who put the album together, photography now was seemed as recreation and open to women means amateur photographer, photographer's choice, cheap, fast, end up with snapshot, endlessly reproducible Example: A photograph by Barbara Kirshenblatt-Gimblett, author of article about 9/11 The photo is of of an exhibition made for everyone to submit their "kodak moments to" of their photos of 9/11, the photo is essentially made up of numerous kodak moments, it depicts a black and white photo with photos that are vertical and horizontal, each with dark and light tones hung up near the ceiling, and on the walls on a wire/clothes line , each photo hugs the next as there are many and below them there are people looking up and around at them in the middle of the room, the photos are on the walls as well, and the people look absolutely encompassed by the images

colonial archive

200 years of photos taken by British of Indians, it comes part of history, it belongs to you too A part of colonial photography style is for the colonizer to dress up like native in certain costumes from regions of the country Now: The formerly-colonized may revisit the archive of colonial photography in order to rebuild and reclaim their own history In Photo Wallahs (film) - showed Indian tourists visiting a former colonialist town, dressed up in the traditional garb and photographed themselves, reclaiming culture through the modes used by colonist Example: Photo of Indian girl/woman, she is outside on rocky terrain with a hill/ mountain behind her, the rocky terrain is white and grey and background mountain is dark, she is dressed in a long gown, it is black with white and grey patterns, X's and sun/stars, and tick trim in varying parts, she is wearing a long sleeve shirt with he dress that cloaks her, it also has embellishments with parers similar to the bottom of the garment, her hand, she is sitting and her left knee is up and she props her left elbow on it as she puts her left fist to her shin, her right arm is cradling a bowl/ large vase which is white with flower-like patterns on it, and her hair is covered by a garment which has embellishments again but some of them hang down onto her forehead, her eyes stare into the camera and her lips are closed up slightly angled, her expression is then unclear

Atrocity photography

A genre of photography that focuses on atrocity images that depict human cruelty against people and such with central aspects such as: 1. Slave portraits are considered US atrocity photos 2. Another category: lynching photos* → One of its characteristics is, victim and perpetrator meaning those present (killer, lyncher) they are in the same frame In Algeria, colonialism manifested through ID photos as atrocity photos, in this context the perpetrator is not in the images, just victim Example: Anonymous photo of lynching of Thomas Shipp and Abram Smith, 1930. The image displays two men hanging on trees, they are clothed, and a sea of white people, men, and women beneath them, pointing, grinning, watching. Images such as this one were used as postcards too. Its BW.

Archival photo

A photo taken by another person Photographs from an archive, documents of a particular history, kept for their informational value and/or sentimental value Example: Saddam Hussein captured, and killed and his sons too, is part of the photographic archives of the history of US military efforts and of documents of proof of Iraq history Photo is of US officer capturing Saddam Hussein and his holding his body not he ground, they are outside there are plants around and other officers legs in the photo, officer holds his shoulder up to prove identity of body, and is wearing army print uniform hovering over captured Hussein, photo is in color, the officer in green tones, it is night time and Hussein in black Other photo is a compilation of both sons killed with their eyes shut, faces bloody, and slashed laying on sheets or on the ground, the photos are in color, their facial hair is prominent and their head the only aspect of this compilation of photos shown

scrapbook

A specially bound book with uniquely designed pages with photographs, memorabilia, captions, decals, and other accents It is a form of a life document where scrapbooker (mainly female, mainly mother) can document life, such as family trips, and are mostly chronologically organized with individual's life: grade school, high school etc. The content is highly selective picking , not going to necessarily see unhappy moments, celebratory for the most part Katriel and Farrell define 3 stages for scrapbooking process: a. You're curating→ choosing objects, selecting from memory, save something transient (saving) b.Assemblage objects and photo (organizing) c. Contemplating and sharing- the practice of reflecting on content and sharing it with intimate others, form and enacment Example: On Smithsonian Institute from class lecture--> "Argentina 1939" scrapbook - "Buenos Aires", April 26 - Record Unit 7293 - William M. Mann and Lucile Quarry Mann Papers This page depicts a vertical photo of a scrapbook page, which has 5 photos on it, the photos are black and white of people walking through city streets in Argentina as the captions beneath them state, they are at the capital building as well, each photo shows urban setting, with trees in some, and walkways, they have architecture and are organized in pairs of two going down vertically in the center of the page, however the top left photo is not a photo (as there are 5 not 6) it is a letter of some sort written on a white small page with cursive black text on it, it says RSVP in the corner indicating it is an invitation of some sort. Each photo has black bordered corners too.

Kodak moments

A. means amateur photographer, photographer's choice, cheap, fast, end up with snapshot, endlessly reproducible (this is all what the word Kodak means) 9/11 caused destruction that creates Kodak moments→ it's going to have the factors above^ B. Mass moment/event protest, celebratory, it's on a grand scale Example: A photograph by Barbara Kirshenblatt-Gimblett, author of article about 9/11 The photo is of of an exhibition made for everyone to submit their "kodak moments to" of their photos of 9/11, the photo is essentially made up of numerous kodak moments, it depicts a black and white photo with photos that are vertical and horizontal, each with dark and light tones hung up near the ceiling, and on the walls on a wire/clothes line , each photo hugs the next as there are many and below them there are people looking up and around at them in the middle of the room, the photos are on the walls as well, and the people look absolutely encompassed by the images

Snapshot

An informal photograph taken quickly, typically with a small handheld camera May 1888- Kodak camera "You press the button, we do the rest" It was $25 --> "Amateur Photography* It was promoted as a _____ camera Example: 1988 Cannibal Tourism video, the European/Western tourists and their exploitation and desires towards a group from Papua New Guinea During this ecotour they heavily take to interest examining "tribespeople" and carry around many cameras as a group and photograph the local people as well as themselves with painted faces and the material culture produced by the group (masks, art, engravings etc.) in this process the Western tourists take many _____ as they are informal photos that are repeatedly taken to capture their excursion Photo: Is of a cluster of 4 tourists, two men, two women who take a photo from their own camera and turn the camera to capture a ____ of themselves, furthest to the right is a man, the one who took the photograph smiling, wearing sunglasses and a button polo shirt, he has a hat on with cheetah print trimming, his outfit is white with black details, next to him is a woman with a plaid shirt on and embroidered camera straps around her neck which hold her camera, and she has short hair, on her face are patterns and designs that cover her entire face, these are done in black with a white background tone, next to her is another woman also with short hair, who wears a striped flannel, she is holding a mask with patterns/ designs on it in her two hands propped up against her chest, her face has the same markings in different styles, next to her is a man, he is holding the camera from the embroidered straps, he has a white polo on and is bald, they are all smiling/posing, the background is water with white tones, and there is vegetation behind that, seen through dark bush-like imagery

captions

Are the minimal amount of text beneath the photograph to describe them written description of content (text, not visual) Also they give point of view, tagging (like social media) of who is who Example: In lecture, a photograph was shown of a family at the son's Bar Mitzvah and what appears is a cohesive family photo where all the family members are nicely dressed and poised outside, but the caption that accompanies it offers deeper insight stating that it was the last family photo before the parents got divorced In Anthropology, captions are critical in giving photos anthropological significance. They provide for photos of fieldwork and subjects, further meaning and context that is specific to the discipline. Date, what is photographed, who photographed it Such is important when British anthropologist Malinowski and Evans Pritchard engage in fieldwork with photographs but need captions to describe further (a photo depicted in lecture of these is of Malinowski In the photo Malinowski is wearing all white and is standing on the left peering at a group of five young boys and they stare at him. He has a camera in his hand that hangs from his neck and his all white clothing juxtaposes with their dark unclothed skin ALSO: in family photos context, Annette Kuhn describes in her text, a photo of herself that her mom tried to caption on the back with location and such and she as a child had also changed the location her mom put, so who remembered it right then? The photo is of her as a child, holding a small bird in her left hand, she is peering at the bird intently, she is wearing a plaid skirt and long sleeve sweater, appears to be wool, her hair is in pig tails with ribbon and the background shows of furniture and wallpaper

Azriya

Azriya* means in arabic, it means a "free woman" (is a euphemism of how you look at native woman by colonizer) Take an arabic word, colonize it and give it a new meaning, it's a form of possession, you possess the language and you posses the woman Example: In Malek Alloula's text in chapter 7 there is an image titled "young Moorish woman" who is laying down on fabric/a striped rug she has a pointed hat on, she is grinning, has jewelry on, her right arm stretch out and her breasts exposed beneath layers of loose clothing as she lounges on the carpet its BW This image renders the colonizer seeing Algerian women as free, as sexually available and such *HOWEVER, also there was another image shown in lecture of Two women in black and white in long dresses that look similar, was a souvenir postcards, this is what a free woman looks like, they're smoking cigarettes, traditional costume and smoking a cigarette =prostitute Also in some ways, free is also shown through the images of the woman behind bars, to depict how their men are making them oppressed so now photos of the women with no clothing or exposed parts, smoking etc. depict a fantasy that western men are freeing them and thus, also "make them free"

Aestheticization

Beautifying something that it not meant to be pretty Idealized or unrealistic depiction Ex. Homelessness; Beautification of the struggle Photography as Witness" (Sontag) - images of combat becoming aesthetic, making them look beautiful. Sontag thought is don't make them beautiful to avoid aestheticization, captions are necessary, but do not moralize in them Images should shock us and images should change us (Sontag) There are many examples of aestheticizing something, but specifically, W. Eugene Smith "Tomoko Uemura Is Bathed by Her Mother" 1971, depicted in Sontag's article: looking at war, from regarding the pain of others The image is BW and shows a mother holding her child, who looks up and the mother looks at the child, their faces and chests are illuminated and the rest of the photo is dark, this photo potentially aestheticizes suffering

colonial photography

British Anthropologist→ Goes to India to photograph themes there of the people under British rule → This is Colonial Photography* → This calls for a colonizer, in this case British people → Colonized native: Natives of India US. vs. Native Americans is this relationship -Under this context, the colonizer takes photos -Photography- measure the native→ which is called anthropometry* (literal measurement chart) -The colonizer dresses like the native and takes pictures of self/ native dress up→the native dresses up in certian iconic costumes from differing parts of the country -Imitating the native (through dressing like them for photo) and measuring native -When British leave, these practices of photography remain Photo: of African woman standing naked next to measurement scale, her right arm is extended and it touches the scale, indicating her arm is being measured, she is standing tall, straight, she has short hair, the light hits the scale and her breasts and stomach mainly, she is not making a particularly easily to identify face, but her eye brows appear to be scrunched together, her lips are sealed shut and he gaze is sharp as she looks at the camera, the background is a grey wall, and there is what likes like another part of a scale behind her body with part of its base on the floor behind her This is a photography type that is part of the colonial enterprise, this specific type is anthropometry, the photo is of an enslaved woman as a part of settler colonialism and is examined in conjunction to Western obsession with finding out if Africans were a different species, categorizing, cataloging body parts for scientific racial ideologies

Brownie camera

By 1900, the ______ a small camera, cheap, down to $10, portable, a Kodak product, you get hooked though → They process the film Photography set up the passway for american consumer culture, which was followed with television! Once the television came in you had to buy cable, etc. get people hooked With the camera people had to buy film etc. kept them hooked Example: Blanchard scrapbook from 1922 (shown in lecture slides online) depicts how consumer culture and allowing any American to own these cameras leads to scrapbooking as a pastime that can be used for family photos and saving memories The pages shown from left to right: have cut out words like "memories" "you" "Bride" "Brother" "Love" etc. which are spread out throughout the page in two diamond patterns, the words are written in black and the back of the cut out in white, minus "love" which is in red then from that page unto the next, there are three photos, one horizontal on the top and two vertical on the middle and bottom, they have geometric design frames around them, in the top one is a group of 5 people sitting on a log with their legs on either side of it, as to straddle the log one after the other, the photo is outside as there is a tree in the back, some figures are white and the others are in black and that creates a contrast between them, the middle photo is of a child in all white standing in a neighborhood with houses and trees behind, the last photo is of another child with all black on and a hat, the child is holding something white in the hands and is again pictured outside with trees

chronology

Can be (time), spatial, form, ordering that makes connections between a,b,c In order of time from the earliest to the latest From beginning to end in order of how it happened, sunrise-> sun is up--> sunset--> sundown or fall->winter-> spring->summer Example: The Brown Sisters photo project→ Nixon photographer, but every year he took a photo of the sisters of the exact same pose, positioning etc. For 40 years! Each photo every year depicts changes, it is a chronological photography project that depicts the initial photo as the sisters continue to age on a linear path of time (from earliest photo to latest and most current, although as he makes more the one thats the latest will continue to change) 1975 the first photo: the four sisters are all dressed in white shirts, none are smiling, they are all in pants, some grey, some dark, some white, they all stand outside in nature as there are trees behind them, two of the sisters on the left, on has her arm on her sister's shoulder the other has it on her waist, next her a sister stands with her hands in her pockets and next to her a sister stands with her face facing the right slightly with her arms crossed, they have short and long hair, thin, no breasts developed, no wrinkles 2014 the most recent photo shows: only the top half of bodies, still black and white, three of the sisters have short hair, they all embrace each other with hands on shoulders and arms snug in with each other, their bodies lined up horizontally and their heads face the camera, they don't smile, they have wrinkles and their faces look larger, some hairs are grey etc. These photos are both a series and chronology, but in this context they are time related, and show a progression from first to last photo, of aging of the span of their lives as the photos unfolded in order of each year

Alexander Gardner

Civil war photographer 1850-1880 Moving corpse situation --> a black and white photo of a man laying on the ground with a rifle next to him, taken by Alexander Gardner, the man looks dead, 1863, the battle of Gettysburg photo, the title is called Slain Rebel Sharpshooter* Then: Fallen Union image*, 1863 same guy but now the photograph is staged, the staging comes with the caption, wasn't discovered until 1961 -Only took pictures of dead photos because daguerreotype took too long -Staging war photography -Used same guy for different sides but the public didn't know until 1961 Example: Is this photo of rebel sharp shooter from 1865 Which is BW and depicts a barricade of rocks and a man laying down against a wall of rock that has his rifle next to him on some rocks, the man is dead it appears, eyes are closed, mouth is slightly open

cultural inventory

Collier term-All sorts of items that will tell you in some way about the culture or people under investigation, try to look at things and how people relate to things, you can divide that into domestic interiors and urban exteriors -He focused on domestic interiors, where you live, what does it say about you? The group of students you belong to? In what way do all of these spatial items represent, depict, how do they correlate with culture, who you are, what you think ,how you live, how do inhabitants see their world? 1. Domestic interior* → Decor, arrangements (material), use of space 2. Urban anthropology exteriors-documenting outside spaces Example photo: book case that is an informal shrine photo by: Edward Bigelow in Collier article The photo is black and white and shows a bookshelf with an encyclopedia for healthful living on it, a sea shell and various photograph portraits among other items that are dark in the photo and cannot be distinguished, the white seashell and white tones around the lettering of book and photographs are only the visible parts as the rest is dark

secular ritual

Denoting attitudes, activities, or other things that have no religious or spiritual basis Day to day activities With all the hallmarks of ritual - medium, message- way of shaping and understanding the world Forms of photo organization, scrapbook, album, captions You are a bad parent if you don't have pictures of child, ritual with all of the hallmarks of ritual, it is particularly US American distinct, non-religious rituals Sweet 16, graduations etc. Scrapbooks are material secular rituals and They are performed and reflecting on as described in Katriel and Farrell text This means they are part of an actual ritualistic act The photos inside of the secular ritual of scrapbooking themselves can be secular rituals too (sweet 16, etc.) Scrapbooks can be described as 'portable' secular rituals Example: Fraternities mentioned in article as having scrapbooks, random image is selected of a layout page that has greek letters Pi Kappa Alpha, has a color photo of 7 males, ranging ages, some appear older, and some young college age, all in blazer and some with ties except two, standing smiling inside of a room with furniture and art up, beneath it the captions say, family tradition, our heritage, past, present, future, etc. This depicts the idea that initiating a fraternity is a secular ritual, creating the scrapbook is part os a secular ritual and the scrapbook itself is a portable secular ritual

Mammograms

Discussed in Gladwell article, its Imaging of the breast done through ultrasound technology The importance of this is that the photograph is not 100%. You cannot take what a photograph for exactly what it is because it may not be right. This touches on aerial photography, where you can't 100% see the image for what it is, even when that's what it's supposed to be. what you see is not always true, photography is evidence but not always correctly reflective of the truth Example: Lecture - photos from Auschwitz, Poland of Concentration/Extermination Camp in 1940s. BW image, see trucks and buildings. "Largest unsuccessful version of aerial photography". Labels came after from eyewitnesses/survivors (i.e. melting snow on roof=gas chamber)

Intervention points

Divide into two areas, one has to do with what goes on when 1. You frame a scene 2. Darkroom/photoshop (computer intervention) → degree of manipulation (You can try to prove something in a photo, but you can photoshop the colors to fake your results, photoshop in science with rats with cancer example) degree of manipulation → photo shopping and scientific, cropping, staging scene with collage Example: Lena Dunham girl from readings VOGUE photoshopped fashion shoot- here the image is in color, showing a street thats in NYC with a doorway, cars, a tree and her with a feathered dress on that is turtle neck and there is a pigeon on her head, the scene is a compilation of other photographs pieced together to create final image

Intertextuality

Edward Said-power relationships- fabricated, invented by West, the other thing he did was intertextuality* Intertextuality* what he meant by it was a text that refers to a previous text, we're using it by saying an image created that refers to a previous image (still we create images from the past again-cris expanded) Plays right into Berger, image referring to previous image, deja vu, canon Use of certain signifiers you look for that indicate what they're attached to, using from orientalist painting such as the tiles in bathhouse paintings, use of deja vu, certain immediate association Intertextuality* -Is a way about talking about the fact that these architectural forms, this kind of washing utensil (looks like lamp/lantern) and don't necessarily bare relationship to baths, but they allude/indicate a particular message, is the idea of these same themes appearing again and again visually, the european tradition depicting what a bath hows is Deja vu*-I've seen this before, already seen Example: Roger Fenton considered first combat photographer, and he also did a series of orientalist photographs 1850s and 60s taken in London, in a Studio, shows two men in middle dress, and there's a woman with her hands up, black and white, there's a line coming down that holds a gesture up in the air, just like decor its says its middle eastern/north africa, holds a gesture which indexes such harem, odalisque etc. long exposure times so they have wiring hold her arms up to maintain a posture that makes it look like movement In this photo, the woman is again idealized, it is staged, she is in a position and setting with props that inter text other previous photographs and paintings of orientalist focus, this thus with the key features nods to those in order to create itself as orientalist, this image gives credit to those that came before it in setting up what is orientalist: furniture, clothing, body positions, arabic, colors, architecture etc. *However, another example from lecture is: Image: by Ingres too, it's literally a circular painting (a peephole) with all sorts of women (sapphism-lesbianism) all naked and lounging, some close to each other, no hair, they are going to a bath, and getting in one, a tea service (seen as an insect colony, one could say)

Anthropornography

Ethnography used for pleasure The way before national geographic that you would get pornography, servants, male desire, nudity, the spectator's gaze-male, ownership, patronage, Breasts that are non-western seen as scientific project (not sacred, and viginal) Nov 1896 Zulu bride and bridegroom in full regalia and wedding ceremonie with naked breasts shown Article had nothing about this, it was about Boer War, imperial powers etc. British and Dutch fought over the land, talked nothing about local people, so keep in mind photos vs. text, this scenario they do not align This is an example of ethnographic erotica* we will take nude photos of others but not westerners Magazine becomes associated with known usage of nudity From magazines perspective they wanted to show people as they are 539 pictures of bare breasted women, no naked men! Pornographic usages, no porn magazines yet at this point so soldiers and men used it as porn Many articles do not come from indigenous people! Example: Nov 1896 Zulu bride and bridegroom in full regalia and wedding ceremonie with naked breasts shown The image is BW and shows and man and woman standing next to each other, they are in skirts, with body adornment and are both topless, the woman's breasts are showing, barefoot, headpieces Shows that the photographer sees them as exotic, breasts out as bothering of black bodies, lack of value placed on them, but they are sexualized

Stereotypes

Europeans photographing natives, genre of photographs, resembled portrait (unique, individual, name, identification), removes individuality, generic caption. This homogenizing people, denies their agency, makes them controllable, possessed, generic etc. in terms of visual anthro, anything of the original is erased, it's all made into general categories, a black woman vs. her individual identity The people who are staged, the context is also generic, there is not historical context, its a studio with props, so there is an erasure of actuality there too and the person's historical context Example: Example: In Malek Alloula's text in chapter 7 there is an image titled "young Moorish woman" who is laying down on fabric/a striped rug she has a pointed hat on, she is grinning, has jewelry on, her right arm stretch out and her breasts exposed beneath layers of loose clothing as she lounges on the carpet its BW The caption for this image is: Young Moorish Woman which entails an anonymity to the woman, she doesn't matter, she is just another Moorish person

Portraits

Face is the focal point "Close the distance between photographer/ painter and subject" Types: I.D., mug shot, official portrait (JFK-first for photography, reproducible), passport History: Painting of Sandro Botticelli, 1465; paintings set the conventions for portraits Worldwide practice - Different countries have different rules for identification portraits Can depict a person in their environment or isolate them in front of a non-descript background Documentary portraits are usually used to record the appearance A classical portrait, carried over from painting, has these characteristics: head on, ¾, frontal, half-bust, backdrop is minimal, nothing obscuring the face Example: John F. Kennedy photo: is an official portrait* 1961, president of the United States, Kennedy the first to get a photographed and not painted for official portrait → Easily circulated and could be put in Time magazine Photo of him in the oval office, drapes are shown and cover the back of him, he has a grin on his face, his eyes intent on the camera, he is in a full suit, the American flag is slightly shown behind him, he's in his office holding a paper, sitting in a leather, black chair, not a smile but a stare, but not un=kind, his hair is groomed, hards grab page, cuts off after torso (color photo)

Colonizer/colonized

Female vs Male-oppositions / binary Female: o Object o Topic of photo/painting o Viewer image o Posed on display o Subject is nude and immobile, possibly charming, possibly not Male: o Viewer o I, eye o Subject o Photographer/painter o Donor o Possessor o Dominant o Male is a voyeur o An appetite- sexual appetite o Clothed o Judgmental Dealing with power relations in the middle east: Colonized: o Native americans in the US o Slaves/ slave photos (anthropometric) o Arabs, Berbers o Depicted as timeless/immobile *Colonized can be male or female Colonizer: o US o France o Great Britain *Colonizer can be male or female that takes the photos Example: J.T. Zealy photographs of slaves The photo is of an enslaved African male who is shown from torso and above, he is not wearing clothing on the top of his body, his chest is highlighted on the right side of the photo, as well as the right side of his face, he has no categorizable expression although his lips are pursed shut, his eyes stare at the camera and his face is full of wrinkles as his body is straight, his arms aligned down his shoulders, not showing any arm expression that is easily emotionally identifiable either, the background is grey/blank

Family photography

Form: -Portraits 1. Frontal face 2. Close-up 3. Color 4. Posed ("say cheese") 5. Secular ritual with the forms of photo organization, scrapbook, album, captions Content: 1. Event-centered ex. Wedding 2. Celebratory 3. Happy 4. Time-specific→ Life cycle, kinship 5. Maternal-centered 6. Becomes a secular ritual* which crosses over to form and now the form could be a scrapbook, album, captions* -Mother takes it, mothers use cheap camera -Sometimes generational, seriality photos present in family photography -Can be posed -These photos usually end up in scrapbooks or family albums Annette Kuhn: "Family photographs are supposed to show not so much that we were once there, as how we once were; to evoke memories which might have little or nothing to do with what is actually in the picture. The photograph is a prop, a prompt, a pretext: it sets the scene for recollection" " Family photographs are quite often displayed - show, talked about- in series: pictures get displayed one after another, their selection and ordering as meaningful as the pictures themselves. The whole, the series, constructs a family story in some respects like a classical narrative - linear, chronological; though the cyclical repetition of climatic moments - births, christenings, weddings, holidays (if not deaths) - is more characteristic of the open-ended narrative form of soap opera than of the closure of classical narrative. In the process of using - producing, selecting, ordering, displaying - photographs, the family is actually in the process of making itself." Example: Sally Mann: -Is best known for her collection from 1992, and its called Immediate Family -She's doing what's called intimate photography* taking pictures of close members of your family -A photo from that collection is black and white, of her two daughters, they are outside there is a dog, a truck, trees, grass, the girls are barefoot, there are mirrors, and brushes on the ground and the girls are both in white dresses/skirts, one faces the other while it looks like she puts her hand with something in it on the smaller girl's cheek, the smaller girl turns to look away at right side of the photo Sally Mann creates all of these as ways to collect her family's moments, celebratory of her children playing, it is of innocence, day to day life of it captured

daguerreotype

Frenchman/ type of photography method, long exposure times, the early method utilized iodine-sensitized silvered plate and mercury vapor. Each of these is s a unique image on a silvered copper plate, expensive, non reproducible Example: In order to depict African American slaves 1850s, who do you get to sit for long periods of time, a slave, someone who you can control American slaves photo portraits Photos by J.T Zealy The photo is of an enslaved African male who is shown from torso and above, he is not wearing clothing on the top of his body, his chest is highlighted on the right side of the photo, as well as the right side of his face, he has no categorizable expression although his lips are pursed shut, his eyes stare at the camera and his face is full of wrinkles as his body is straight, his arms aligned down his shoulders, not showing any arm expression that is easily emotionally identifiable either, the background is grey/blank

Postcard

Front- has an image- could have text in image like "Welcome to HAWAII" text is then superimposed on image (professional photos) Touristic places, sometimes places in photo Can be color, black and white and colorized black and white Back: ½ text (handwritten) will have sender's name -Addressee -Stamp/post date: its evidence/proof that you were actually there and on back there is a studio name Cheaper travel/tourism trustworthy postal system, cheap photography, souvenir Mini Orientalist postcards in an album without backside Showing, portraits in sepia of women and men in traditional clothing (harem) and headscarves etc. Would have been sent as postcards, about sexual fantasies and shows power over people, it's part of displaying colonization, displaying possession Colonialism makes everybody purchasable, everyone is a possession Example: is a a BW postcard image from Maleka Alloula's text that depicts a woman in a sheer white dress on with jewels on her body and head, her breasts are visible but leave to the imagination, like a veil over them, she looks up and out at the camera

Gaze

Gaze is used for story-telling, we are looking for beauty/attractions, documentary interest - aerial photography: surveillance, whether for military or otherwise, still taking an account of what we see 1. Photographer's Gaze - viewfinder (throwing eye behind little square to create bigger picture) o The picture o Vantage point, composition, subject - choice is photographer's not subject's o Choices made 2. The Institutional Gaze/Magazine Gaze o Whoever makes choice about publishing photos o Days of film: 250-300 rolls of film, 36 exposures per roll, 11,000 photos per assignment o B/c of costs, quickness moved to digital photography - more reliant of being able to capture something multiple times o So editors cut this down o Editors can only choose 30 or 40, their decisions to commission articles and choose photos o Photographer quits having authority, now it's editors o Also caption writers, photographer does not have final say o Loose photographer's intent 3. Reader's Gaze o Read articles based on photos o Idea of they are giving you perspective, inserting their idea of this place into your mindset o Imagining yourself there, and putting yourself into area o What you imagine, what the pictures provokes, and what you remember afterwards (before, during, after) o Arm Chair travelers 4. Non-Western Subjects Gaze o When taking picture of someone that is not Western 4 types of gazes: 1. Confront camera 2. Look at something or someone in picture frame 3. Might look off into distance 4. Or not gaze at all (ex. massive photo of lots of people, super zoomed out) Non-Western subject: editor's want that compelling gaze (ex. Afghan girl b/c confronts the camera slightly off-center) Where the portrait and camera gazes are important roots to bring people together, but often one-way street - we don't gaze back at Afghan girl as we know her 5. Westerner's gaze framed in the pic o Readers can identify with those people, imagine themselves in foreign land Photographed: 1. Alone (or w/ monument for proving you were there) 2. With others of their kind 3. With locals - Comparative basis Westerner's gaze is turning into the colonial gaze 6. The Reflective Gaze - Gaze returned in Mirrors and Cameras Idea of creating second self - tool for self-reflection, reflective doubt (Berger: women peering into mirrors doubt their attractiveness) - self knowledge (power) - child-like obsession, sense of wonder - eventually identify as "me" → photographers often bring back photos of person in tribe, associate sense of wonder Used as a power tool, colonization If camera given to native subjects, colonizers run risk of loosing colonial power b/c now camera reflected at camera Colonial: subjects often not granted a photo of themselves (ex. Afghan girl knew was being photographed but never got the photo and had no idea how popular the photo became) 7. Academic Gaze o Less dominant, more reciprocal if knowledge of intent and take into account who we are photographing o Idea that we can take an image and use it more as a way to understand and start a dialogue by giving a camera to everyone and letting them discuss o Trying to take power structure out of it o Come full circle - idealized gaze b.c we take all the other gazes into account, more oriented into seeing how a scene or viewer might be changed by all these gazes o Ideal, smart, contextualized Example: National Geographic covers: "Afghan girl" photo is the first of her when she was young, wearing red/orange headscarf covering her, her hair is showing a little, it is brown and her eyes are a piercing green and her face is an olive tone Photo by Steve Mccurry Sharbat Hula 1985-photo taken in 1984 Pakistan, taken across border, 12 years old Found again 17 years later, unaware she had become the face of national geographic, unaware she was popular This was a national geographic cover with the yellow border around it 1985 cover This image as national geographic's most well-known, undoubtedly holds all the gazes ALSO nat geo cover of Libya shows ruins, which creates ideas about Libya, romanticizes the past, etc. ALSO Cannibal tours movie works well in this break down although it is not nat geo all the gazes can be attributed to it

Aerial photography

Has military origins, anthropology colonized these techniques By WWI military was using aerial photography Signposts of well-being* → is a particular anthropological take on aerial photography, what do you see and what are you missing at all of these levels, the higher you go it's the less human, ground level gives you details, being up high gives you a different perspective Seeing at a distance, orientation from above Purposes: 1. The military: surveillance, bombing, land mapping, etc. 2. Archeological use (killing fields, excavation extraction sites, etc.) 3. Sociocultural anthro: crowd counts What you miss (compared to ground): Higher you go, the less human- disconnected with human dimension -Collier mentions this as a method -Image of surface from above -see something from a distance- distant perspective -able to distinguish clearly defined separations between regions. (Collier 1986) -a form of photographic survey -takes place in the public domain and records the "outer face" of a community, as well as document major outcroppings of regional culture. -Used as historical photo to see landscape/agriculture to get sense of larger terrain (panorama), geophysical charts, relate ecology to culture, social structure and technology. -Form of cultural inventory -Images of public domain (crowd source, search for oil, archaeology, satellite) -Surveillance (ocularism) EX: Lecture - photos from Auschwitz, Poland of Concentration/Extermination Camp in 1940s. BW image, see trucks and buildings. "Largest unsuccessful version of aerial photography". Labels came after from eyewitnesses/survivors (i.e. melting snow on roof=gas chamber) Example: Collier article: photo by Malcolm Collier, Stockton street, main shopping section of San Francisco Chinatown, California Black and white photo, buses, cars can be seen, building roofs etc. Example again: 1869-Nadar photographer→ hot air balloon used before airplane Picture of Paris with the Arc d' Triumph He showed a high up level of aerial photography and it can be utilized to chart sociocultural data (people) and changes in urban landscape, etc. with grinding, he could have charted changes of Paris with aerial photography creating a series, where he could compare the changes, much like Vergara's work with building changes The photo is black and white, shows view above of arc d'triumph in middle back of photo in white, with roads all intersecting it as diagonals to point towards monument, the buildings are varying tones of grey and white and are scattered across the city

sacred ritual

Have symbolic value attached to them, They are normally prescribed by a religion All religious celebrations come under religious rituals Religious rituals include worship rites, sacraments of organized religions, atonement and purification rites, coronations, dedication ceremonies, marriage and funerals Baptism, confirmation, marriage, pilgrimage to sacred sites Photo example from class is of child's Bar Mitzvah and the family is standing around him outside (Judaism) Example: Photo of a baby getting baptized, the baby is being cleansed by priest of original sin, in Catholic church, the water pours over the baby's head, the priest has official garments on with embroidery and gold ring, the parents hold the baby as he/she has water poured over its head, the baby's eyes are closed

perspective

In photography and painting: what you have is a flat surface, which is two dimensional, what you're given is an idea of constructed reality, visually, artificial reality → Is a uniquely European/Euro-American Renaissance 14th-19th century Eye/I: Gives you the experience of the viewer This term is in the eye of the beholder You are the person who decides the experience of the person who is looking It is as a substitute of reality Example: Alfred Stieglitz | Winter - Fifth Avenue It is a street in New York City (The Met Museum). The busy street is covered in both clean, and dirty snow with an abundance of footprints and horse and carriage wheel tracks. On the right side of the photo, two individuals, appearing to me as men wearing dark coats and pants, can be seen shoveling the snow off what I assume is a walkway, or sidewalk. Also on the left side if you look very closely, although a bit difficult to see, there are a couple blurry figures in the background of the photo. The figures appear to be walking on the pathways. On the left side, a blurry figure can be seen possibly bending over. The reasoning for bending over is not visibly clear to the audience's eye. At the center of the photo, a carriage is being pulled by two large horses, who appear to be emerging from the ghostly haze that engulfs the buildings in its path. In fact, if you look closely, that "haze" is snow; it's snowing in the picture, but it may be difficult to tell at first glance. The viewer's eye immediately follows the carriage tracks in the snow, leading up the horse and carriage headed in the audience's direction

Leica

Is a camera, that was introduced in (1925) at a trade fair in Germany Portable It was light and trim enough not to be a drag Has a quick shutter that sounds like a kiss It's the camera used for natural light 35-mm became standard of film Leica I. The refined and improved version of Barnack's camera went into serial production under the name of Leica (Leitz Camera) and was presented to the public in March 1925, at the Leipzig Spring Fair. It was fitted with a non-interchangeable, Leitz Anastigmat 50 mm f/3.5 lens designed by Max Berek in a collapsible mount. Soon afterwards, the lens was given the name Elmax (Ernst Leitz, Max Berek). In the same year, Berek employed a new glass type in his design for the Elmar 50 mm f/3.5 - a lens that was to become as world famous as the Leica itself Leica II. With integrated rangefinder Oskar Barnack took a decisive step forward by integrating a rangefinder coupled with interchangeable, screw-mount lenses in the body of the Leica. The principle of this characteristic feature of the Leica camera was maintained for all screw-mount cameras with an integrated rangefinder until 1957. At that time, seven interchangeable lenses designed by Max Berek were available for the Leica system The Leica M3 is the epitome of the M system even today The completely new camera construction featured a combined bright-line viewfinder/rangefinder with automatic parallax compensation and automatically displayed bright-line frames for the area covered by 50, 90 and 135 mm lenses, a bayonet mount for interchangeable lenses and a non-rotating shutter speed dial with click stops. An exposure meter that could be attached to the accessory shoe and coupled to the shutter speed dial was also available as an optional accessory. Film winding also became much easier by the replacement of the winding knob with a rapid wind lever. The Leica M3 is the reference model for all M-Cameras constructed to this day Example: "Napalm Girl." It was taken by Nick Ut, an Associative Press photographer during 1972 Vietnam War It was taken after the United States sprayed napalm in South Vietnam. The photo is black and white and is said to be taken on a highway somewhere in the country. The photo shows multiple South Vietnamese children moving down the highway. The children are accompanied by soldiers, it is unclear whether the soldiers are US men or Vietnamese. There is dense fog/smoke/air in the background of the photo. The land in the background is plain and dead. The photo draws most of the focus on the two children closest to the camera; in particular, the two children's faces draw the most attention. The young naked girl in the photo makes the photo rather memorable. The child has no clothes on as she moves down the highway towards the camera. Her arms are stretched out away from her body. The soldier's faces are unable to be seen, unlike the children's faces. The fact that the soldiers are in darker clothing (as part of their uniform) and the children in a lighter appearance the photo immediately focuses on the children. From the children, the young girl that appears naked in the photo draws the most attention

Orientalism

Is how the west "sees" the east, its a particular gaze It is seen in paintings, photography and postcards Orientalism and colonialism overlap, because of colonialism, orientalism has the power to manifest as a product of the history -Edward Said: Anyone who studies the Orient o Said Interested in power relationships between east and west o He said the orient idea was fabricated, invented by the west In photography, in ads, the Orient is feminized Sexuality is in front of the frame by the looker and is imposed on the image,Berger and Said would agree on this, also when looking at orientalist photography if you're looking at what berger calls the nude, you're learning less about the female saide (less info) and learning more about whoever produced it, looking at image, can tell you about the culture that produced, it the people who wanted the image, it reveals more about the other side Harem, black slaves and orientality as themes here Harem- means women's quarters, in colonial photography it is trasnformed into excoitc, erotic -Exoticize visually -Remove agency -Absence of history -Gender -Indexical -Dress like you oppress (French colonialism, hookah, rich fabrics, women which is an indexicality of Middle Easterness) In the paintings we see hammams/bath houses They are languid Showing as much of their body as possible No hair on the woman: childlike, purity and virginity Black/dark slaves are washing them, less sexualized, they are active Tile work, arabic calligraphy, geometric shapes, blue and white shades Props: bowls, rugs, tea, hookah Photography Colonialism/orientalism Colonialism- power play, the "colonizer" or western power colonizes the natives or "colonized" Orientalism- imposing assumptions on them, stereotyping Example: Jean- Leon Gerome 1880 "The Bath" painting Which depicts an enslaved black woman washing a naked white woman in a bathing area, the walls are blue there is arabic writing, tiles with designs, a fountain with engravings, the white woman only shows her bare body from the back and sits on a crate, the enslaved woman wears lots of jewelry, and fabric on her head and body, but does have her legs exposed. In the background there are fabric towels that appear and a pair of shoes it looks like that are on high planks

Ethnographic

Is something that is true, authentic, real, unstaged, not fabricated In this context, the painters and photographers who did orientalist work did try to emulate ethnographic actuality with the objects some of them collected in the country and place them all together in their images, as if to give some "truth" to their representations Gerome 1824-1904 French painter and the painting with blue tiling, architectural style, arabic, claimed paintings were realistic, unusually he ecnouraged his students to travel, majority of paintings are about the orient, all of his models, are always Parisian models, always painting in a studio, brings back costumes, props, items of decor, etc. His presentation and assumption of it is that this is what everyday is like, its a painting of the snake charmer, a young male who is not clothed has a snake wrapped around his body, standing on a carpet, a man is playing a flute (the charmer) and there is a group of people, clothed in middle eastern clothing with staffs watching him as he performs for them, appear all to be males, maybe not tho He does this to capture ethnographic authenticity Example: a young male who is not clothed has a snake wrapped around his body, standing on a carpet, a man is playing a flute (the charmer) and there is a group of people, clothed in middle eastern clothing with staffs watching him as he performs for them, appear all to be males, maybe not tho

Odalisque

Is the female subject from colonial world, middle east, north africa who is there to be consumed Example: Roger Fenton considered first combat photographer, and he also did a series of orientalist photographs 1850s and 60s taken in London, in a Studio, shows two men in middle dress, and there's a woman with her hands up, black and white, there's a line coming down that holds a gesture up in the air, just like decor its says its middle eastern/north africa, holds a gesture which indexes such harem, odalisque etc. long exposure times so they have wiring hold her arms up to maintain a posture that makes it look like movement In this photo, the woman is again idealized, it is staged, she is in a position that indexes her association to being from the East, she is available for consumption

Photowallahs

Is the person, the photographer Local photographers of Mussoorie, a town which once attracted Indian princes and British residents but now caters to Indian tourists Are the local photographers of Mussoorie, a town which once attracted Indian princes and British residents but now caters to Indian tourists Ex: From (IML) "Photo Wallahs: An Encounter with Photography" David and Judith MacDougall These people focus on tourism photography and studio photography The film focuses on the photographers of Mussoorie, a hill station in the Himalayan foothills of northern India whose fame has attracted tourists since the 19th century. studio portraits of working class people and Garwhali peasants, for whom being photographed, again as of the early 1990s, could be a solemn experience Film takes place in a town that was once the colonizers summer retreat and is now for internal tourism for indians to visit. India became independent in 1948 - this takes place 5 generations down the line, they can now visit these cities as tourist sites. Tourism as re-appropriating a colonial past. In the film, we see indian tourists participating in studio photography, cultural recreations and other photographic modes that carry over from the colonial era. E.g. pair of photos of a couple - one wearing modern clothes, one wearing traditional clothes Example: Photo from lecture of a couple wearing modern clothing and others in "traditional style" clothing studio portraits of working class people and Garwhali peasants, for whom being photographed, again as of the early 1990s, could be a solemn experience: Black and white horizontal photos, one on top of the other, the top one shows the pair a man and woman, the man has a collared white shirt and a small groomed mustache, wearing a vest with black trim, the woman has her hair in a cowpony trial and has a white scarf on her neck, the photo below has a man with full facial hair/a beard covering his chin and cheeks, he wears a shirt that appears collared as well, the woman has a scarf now covering her hair and is wearing a shirt with circular pattern on it and a vest over it

indexical

It is an image that is associated with something, this is associated with blank Example: Smoke inside a building indexes a fire Example: "Small Girl in Coffin" by Charles Van Schaick discussed by Sontag Photograph taken in the mid 1800s This black and white photograph depicts a young girl laying in a coffin, which is leaning on a wall next to a male figure standing by a door. Although the child is not at the center of the photograph, it evidently focuses on her as she is completely present in the photograph while the male figure's face is cut off. The man poses for the camera with the coffin next to him. It seems odd that the room empty. The image seems to have been taken inside an older home as there is signs of aged walls, wooden floors, and dresser surrounding the coffin. The description of the small girl is as follows; school-aged, fair-skinned, light colored hair, hands are placed over body (chest and stomach), wearing a long dress with ribbons, dark shoes, and a flower resembling a corsage. While the male is fair-skinned, tall, thin, clean face, carrying an object in his hand, and wearing a suit (white top, dark bottoms, suspenders, and black shoes) with a pocket chain. The girl in the coffin, the coffin indexes death The photo was used in Michael Lesy's work later on with surrealism

Lena Dunham article

Lena Dunham is photographed for Vogue and the magazine edited many features about her, her: bags under eyes gone, neck thinned, chin pointed, neckline bought up, hips pulled in etc. As well as shots of her outdoors with fashion outfits are manages of various images, and imaginary compositions all put together

photo album

Life document a book that contains a collection of photographs Family constructs an idea of itself through pictures, kinship, interconnectedness, turing this very messy life, into a coherent story that's chronological and captioned Deeply personal are these sources Smithsonian Museum- did a project on photo albums, discovered that family photo albums are centered on 1. Units of time -babyhood, engagement party to wedding etc. 2. Women are the family historians Many examples: beach trips, pics of first houses owned, baby pictures, dating/courtship to marriage, everyday life photos, such as doing dishes, photos of staging are done too Focus on celebratory, uncomplicated version of life All of this is amateur photography→ and all of this is a *secular ritual→ you are a bad parent if you don't have pictures of child, ritual with all of the hallmarks of ritual, it is particularly US American distinct, non-religious rituals Example: Shades of LA (Lapl.org) → collections of photo albums → documentation of social history → search of visual history → Photo & caption & oral history Photo of Japanese American family 1935 A group of family and friends outside the storefront of Flower View Gardens nursery, part of a family flower farm on Los Feliz Boulevard. The family leased land in Los Feliz to grow flowers for the wholesale market on Wall Street. Sweet peas, carnations, chrysanthemums and ranunculus were among the flowers grown. They leased the land from 1917-1942 and from 1945 until the 1960's. During World War II the family was evacuated to a relocation camp. They returned after the war to manage the flower gardens again There are nine family members, all sitting on the ground next to the flowers, there are two rows, the front has 5 people all boys/ the dad and the back has girls, women and maybe a boy, they are looking content peering at camera, they are wearing white shirts and dark pants with two women in the back row that have sweaters on They all have short hair and are posed outside this photo is one from a photo album example from Shades of LA site

(self-) reflexivity

Like being self aware.... but includes capturing of the capturing. Example In cannibal tourism film, the filmmaker was capturing tourist taking photos. These photos include ones of themselves with locals, themselves with monuments (maybe those here would be artifacts, and then ones of photos with groups of others like them) Specific photo example: Is of a cluster of 4 tourists, two men, two women who take a photo from their own camera and turn the camera to capture a ____ of themselves, furthest to the right is a man, the one who took the photograph smiling, wearing sunglasses and a button polo shirt, he has a hat on with cheetah print trimming, his outfit is white with black details, next to him is a woman with a plaid shirt on and embroidered camera straps around her neck which hold her camera, and she has short hair, on her face are patterns and designs that cover her entire face, these are done in black with a white background tone, next to her is another woman also with short hair, who wears a striped flannel, she is holding a mask with patterns/ designs on it in her two hands propped up against her chest, her face has the same markings in different styles, next to her is a man, he is holding the camera from the embroidered straps, he has a white polo on and is bald, they are all smiling/posing, the background is water with white tones, and there is vegetation behind that, seen through dark bush-like imagery

Cannibal tours

Made by Australian filmmaker; document travelers from the "West"/"Global North" in Papua New Guinea; the tourists would bargain for handicrafts despite being able to afford the asking price and the locals stated grievances about their lack of money Is a 1988 quasi-documentary film by Australian director and cinematographer Dennis O'Rourke. The narrative plot of the film is to portray the tourists as the real cannibals who consume the world through their arrogance, acquisitiveness, primitivist fantasies of indigenous people, and photography (the cameras in the film double for the guns of past colonial administrators) Also, the removal of spiritual crafts from the spirit house by missionaries and how this structure still has this aura, but they allow tourists to take pictures in this sacred place because "they will pay to take pictures here." In video: tourists bargain for items, they highly photograph the native people, appropriate their masks with painting them on themselves, they do dances etc. to copy them Natives complain about their cheapness in not wanting to pay the price asked for A group of Western Europeans and North Americans, by appearance somewhat wealthier than "average" international tourists, travel up the Sepik river in Papua New Guinea in an ultra-modern, air-conditioned luxury liner, and up tributaries in smaller motor launches, stopping at villages along the way to take photographs and buy native handicrafts. T h e travelogue is inter-cut with ethnographic still photographs and with "talking head" interviews ofboth tourists and New Guineans who try to answer questions about the reasons for tourism and its effects on the local peoples. The dominant view of white Europeans and North Americans expressed by recent ex-primitives is that they exhibit an unimaginable combination of qualities: specifically, they are rich tightwads, boorish, obsessed by consumerism, suffering from collectomania. In short, they must appear as noble savages O'Rourke asks a young man on camera how it feels to have his picture taken, and points out that as he (takes his picture) one of "them" (a woman tourist) has also come up behind to take yet another, he says "one of them is looking at you now" Example: The frame from above, the young man without a shirt on talking to the camera and the white woman behind him with her white hair and blue flannel, khakis and camera in hand

calotype

Most important things: a. exposure time, b. reproducibility, c. expense, d. fragility -Early photographic process by William Henry Fox Talbot in 1841 -Paper coated with silver iodide -Negative image to produce multiple positives -Less clear than daguerreotype (never surpassed popularity) EX: This calotype from 1846 was made by the inventor of the process, William Henry Fox Talbot. Talbot advocated photographing sculptures, and considered them one of the most important classes of subjects, stating, "...a statue may be placed in any position with regard to the sun, either directly opposite to it, or at any angle: the directness or obliquity of the illumination causing of course an immense difference in the effect". It is in sepia tone of a statue of two naked men, one beneath another, on top of what appear to be some type of animal heads.There is architecture/a door way in the background and the man who is standing upright is looking off into the distance, he has a beard, and the other man is looking off to the left, so the viewer only gets a glimpse of his profile. The man standing has his hands on the other man's head and the other man's hands are on the ground

Naked versus Nude

Naked* is without clothes (Kenneth Clarke) Berger definition of naked: "to be oneself" Nude* he attributes to a term used in art, conventions of display (of the female body) transforms naked body into an art (Kenneth Clarke) Artistic conventions of nude also said by Berger: 1. Idealized 2. Placement -languid -frontal 3. Expression-calculated charm 4. Hairless Berger definition of nude: "to be as others see you," on display, woman/model in question has an awareness of being seen Berger says now that: Female: Object-subject of photo, painting, (viewee) the person who is the image itself, posed, on display, nude, immobile (utterly timeless-not part of history) Male: Viewer-then becomes subject, can be the photographer, the painter etc. donor, possessor, dominant, goes further and says it's a voyeur: it's an appetite that needs to be satisfied, clothed, judgmental An example of naked: is when one gets out of the shower, in Berger's Ways of seeing there is also a painting that does appear to be a "naked" woman, she is comfortably slouched, in an upright position, seems to claim agency Example of nude: A portrait of one of the king's mistresses" Nell Gwynne by Lely 1618-1680. It shows her (white woman) passively looking at the spectator staring at her without clothes. She is positioned next to cupid figure, and her look is an expression of her submission. The king here is the owner of the painting and the woman (This is all shown in Berger's Ways of seeing part 2)

Nude posture photo

Project done on undergraduate Ivy League students, and Seven sister colleges, was actually for anthropological research (the project was that these undergraduate students were photographed naked under the false pretense that the study was to measure posture) -William Herbert Sheldon Earnest Hooton ran proejct Done to all incoming freshman, narrow sharp metal pins placed too -Trying to see the influence of intelligence, temperament, morals and probable future success on the body (Rosenbaum Reading) -Divided people's body types and concluded their future because of them, body types and social hierarchy -its still unknown how many of the pictures have actually been destroyed, some were achieved by Sheldon -Nazis conducting similar surveys Example: Photomontage of lecture of a college boy, he is posed in the first vertical shot from the side with his left arm raised to mid level, this is a profile shot of his body, there are measurements at the left side of photo, next to it is a photo of him from behind, he stands all with his arms straight down his body, again there are measurements next to it on the left, finally another photo is taken from the front, he stares into the camera, his body is white, it is a black and white photo, the background of all is blank, white, his body is straight and his arms are straight down with measurements again on the left side

Ephemera

Something that has a limited life, it will disappear, it lives in the world briefly it doesn't last the art doesn't last, the photographs are the only proof that they were there The subject can be ephemeral too, and the photograph itself as well But the content of the photo is this because it could be a subject that's disappearing Vergara's project on street memorials is ephemeral as its fleeting and they will be painted over, washed away etc. but Sally Mann's series on her husband after he was diagnosed Example: Sally Mann photographers her husband after he's diagnosed with MS (multiple sclerosis) she takes photo of decay of his body, his developing sickness He as the content of the photographs is ephemeral Photo: is of husband's face, he is laying down with his eyes shut on a mattress, a blanket beneath him with a zig zag pattern is seen. He lays horizontally so that the viewer sees his profile laying, his beard is white and the rest of his body hues of grey and black with highlights on his hair, the background is a lighter tone of grey, it is blurry and blank and his own body besides the face, the neck turns to a darkness that makes it not identifiable to see him further than his head, his lower lip and nose have highlights to, making his chin to nose the focal point of the photo 2003-2009 "Proud Flesh" series

Malek Alloula

The Colonial Harem. (1986) Argument: these photos do not tell us anything about the natives, as they are Orientalist photographs, and instead about the colonial/orientalist photographer. Power play- they are posed, unrealistic depictions (nude, accessible harem women, overly bejeweled, breasts...everywhere and they do not just walk around that way) Example of the Colonial/Orientalist gaze Postcards sent from Algeria under 30 years of French colonial occupation Postcards , in the context of The Colonial Harem, no longer represent Algeria and the Algerian woman but rather the Frenchman's phantasm of the Oriental female and her inaccessibility behind the veil in the forbidden harem. -Themes: 'sending it back' this whole text is to reclaim the photos and talk about them to say that they do not represent Algerians! -People being looked at have no ability to avoid voyeurism o Women remain nameless, lack of individuality o These photos are done in a studio- analysis of what kinds of props there are, who are the models, whoever takes the picture makes the money (profitable) o Chapter on typology of the breasts (going to be young, perky, available) - Azriya: a free woman (Arabic term) o Backgrounds are minimal, if present at all o form of possession (own the language, own the woman) o Captions are stereotypes (black woman, arabic man, etc.) In the text, the Moorish woman is actually clothed from head to toe, with only her eyes showing, this makes it so that the men want to possess and be curious about whats beneath, their form of dress denies any speculation or access and so the men have to impose their fantasies on the posed women to create a reality that these women are actually different Also photographs are taken of women behind bars, showing that the male limit, or capture them, and thus, the male western photographer is freeing them There are also images with them smoking hookah or a hookah in the background Also women showing in dancing poses with one arm up holding a thin piece of fabric or in a certain micro position that tries to index orientalism Also a section on sapphism (lesbian erotic fantasies) of women with breasts showing that are standing next to each other or sharing a cigarette Among other images of suberoticism that display jeweled women with their breasts almost showing or alluding to them, there even is one of an Arbaic woman with full clothing covering her upper body but exposing her breasts and eyes All depict the aesthetic justification of colonial violence

camera lucida

The idea is there is no human intrusion here, the machine creates it, the copying/sketch technology while human figure (woman) sat still and image was reflected on table for artist to copy, utilizes a glass prism rod for the artist to look through as the image is reflected onto the paper an instrument in which rays of light are reflected by a prism to produce on a sheet of paper an image, from which a drawing can be made. Example: Basil Hall's Forty etchings : from sketches made with the camera lucida, in North America, in 1827 and 1828 (as cited in Beaumont Newhall article) These etchings depict: two horizontal rectangles with images sketched inside of them, the top one has four people the person closest to the left is clothed in tan pants and a shirt, it is a woman sitting in a wooden chair with one leg over the other towards the left, next to her on her right on the floor is a boy in a blue long sleeve shirt and blue pants sitting with his knees up towards his chest, next to him is an elderly man sitting in a chair facing the pair with his leg over the other and his arm leaning on a structure, he has a cane in one hand and pants and a green jacket, next to him is another person in tan colored long sleeve shirt and pants with a tall top hat on staring towards everyone else in the left of the photo, this person is also in a chair, the background is the blankness of a paper, although there are shadows etched in Next: the bottom frame is of three people, two are facing each other on opposite ends of the image, they are both in colorful clothing that covers both of their bodies, with feathers and such, both are sitting in wooden chairs and behind them in the farther distance is a man with a top hat, a vest, pants and long sleeve shirt who holds a broom, the background is blank as it is paper but there are shadows etched in

Ethical issues

Then there's: traumatic/catastrophe Which raises ethical questions, should you be taking photographs of horrible moments, of someone else's disaster So : 1. Ethical 2. Document or memorializing → Maybe if it's your own moment that happened it's memorializing it Memorializing it is it's your own suffering The document is making claims for a scientific future Memorializing is taking the picture for yourself But sometimes these purposes can overlap Concerns mostly regarding permission to represent, identify and describe subjects of photographic and anthropological studies. These issues can extend to places that are or are not ethical to photograph freely and to concerns about reproduction and redistribution of material (children often an issue for ethics) Example: Sally Mann photographs caused ethical concerns: Can photography about children be child abuse? Photo of pelvis of daughter in white shorts etc. her daughter who's 12 with grandmother who's 12 in photo there, light and dark, the grandmother is seen from top up and then the daughter the bottom of her body, her grandmother is posed in formal clothing and daughter is casual, contrasting the figures What this shows is the hypersexualization of simply a 12 year old body Contested that photo was exploiting

aura

Unique quality, atmosphere around a material object It is related to authenticity Is the fact that modern photography can be infinitely copied that we don't know if it's the original, does that mean a photograph doesn't have the aura that an icon has or a painting has? Anything that is unique and original possesses this aura, film and photography challenges that This term is humanly created, besides icon because that does have it but that depends on how religious a person is while viewing it Example: The Pieta located in St. Peter's Basilica, Vatican city, is a white marble statue carved by Michelangelo which depicts: the Virgin Mary clothed in a thick garment as she holds Jesus' body after being crucified and taken off the cross, she looks down at his almost naked body, his head tossed back and his body is limp and cradled in her lap, she holds him with her right hand and has her left hand slightly open facing upwards People often feel deeply moved and feel a spiritual/religious connection when viewing the object as it is the original unique depiction of this

Eyewitness versus hearsay

We trust what we see, see eye as a camera, more than what we hear In court cases, an eyewitness is given greater significance than having heard something, seeing in this context is seen as of greater value/ more accurate of reality Example:Edweared Muybridge vs. Stanford Took this to the next step because Stanford says we believe that all legs are on ground for sure and then Muybridge took the camera and took eyesight a step further in proving the camera is to trust even more than eyewitness and hearsay Stanford research theorizes that a horse when racing has at least one leg on the ground, but muybridge says no, all four legs are off the ground at some points and utilizes his technique to prove it Film: Eadward Muybridge pictures, one image on another that similar and then a top you see them all it makes for the image to have an action Photos: Depict a person on a horse in motion at differing points in the movement, each captures horse's legs at differing angles/lengths/extensions (12 photos total) where the black and white photos on a scale there is some, one or two in which all legs are off the ground and are bent upward, the photos have the two figures in black and the grid on the back in white, creating a juxtaposition of tones and easily defining the motion of the animal

"Mirror with a memory"

Whatever images are out there they are copying them like a mirror made into a memory Example: Beaumont Newhall article, photograph titled Set Table, by Nicéphore Niépce, Heliograph from 1827. It is a black and white picture of a table, the table is positioned so that the viewer sees the table horizontally, it is white and the objects on top of it are hues of black and grey, there is a bowl with a plate underneath it, what appear to be two wine bottles on both sides of the table, next to the bowl is a spoon and knife, and an unknown dark object, likely of such sorts, on the back left of the table appears a vase with plants/flowers that extend up out of the vase, the background of the photo has shades of white and black which are choppy and blurry

seriality

You do a series and you keep going back to the same place to mark the differences, repetition, have a reason to do it Arrangement of things in a _____ Not the same as chronology, because it doesn't have to be in an ordering that makes connections between dates, rather repeats a work with whatever fixed factor (such as every 10 years or every time one goes on vacation to the same spot) Example: Lay down a grid, use it again and again with aerial photography, and watch changes from aerial photos from above through ______ 1869-Nadar photographer→ hot air balloon used before airplane Picture of Paris with the Arc d' Triumph He showed a high up level of aerial photography and it can be utilized to chart sociocultural data (people) and changes in urban landscape, etc. with grinding, he could have charted changes of Paris with aerial photography creating a series, where he could compare the changes, much like Vergara's work with building changes The photo is black and white, shows view above of arc d'triumph in middle back of photo in white, with roads all intersecting it as diagonals to point towards monument, the buildings are varying tones of grey and white and are scattered across the city

Embedded photographer

You need permission by one of the combatants, that means censorship, you had embedded photographers: these were producers of propaganda, because you can't show particular things Existed between 1850s Crimean war, and by WWII (1939-1945) you had embedded photographers, but also freelance photographer, and selling them on their own Freelance was profession, doing things that the army/combatant didn't want you to see, chose to photograph what they wanted, maybe the unseen parts of war (This was considered free visual press time period, but then after vietnam war, back to censorship and control of images of war) After Vietnam war you go back to embedded photography (control again) It was said this was done because Americans saw footage/pics of war on news and became against it, so they don't want to show the real images of the war, or particular ones so that it doesn't come in conflict with the US agenda in war Example: Valley of the Shadow of Death is a famous photograph by Roger Fenton, taken on April 23, 1855, during the Crimean War. It is one of the most well-known images of war The photo is BW and shows an empty path that has rubble in it, no bodies are visible and no fighting is occurring but it did, it is a hilly terrain with a road in the middle OR: D-Day Landings in Omaha Beach in 1944 by Robert Capa (combat photographer/photojournalist). BW image of soldiers climbing out of tumultous waters of Omaha Beach in Normandy, hiding behind broken pieces of metal vessels and surrounded by submarines

camera obscura

a darkened box with a convex lens or aperture for projecting the image of an external object onto a screen inside. It is important historically in the development of photography. a small round building with a rotating angled mirror at the apex of the roof, projecting an image of the landscape onto a horizontal surface inside It's a dark room with a hole looking to the outside bringing in the light on the top or side, wasn't portable Example: Santa Monica camera obscura: describe what I saw: a large plate-like surface with the moving image of what was across the street and behind the center, it could rotate the image with a wheel and it would change views with the Santa Monica senior center's surroundings with it in the middle, it had a bus, building, street, then a beach, palm trees etc.

mug shot

a portrait of a person who's been criminalized A mug is an ugly face, a criminal face a photograph of a person's face made for an official purpose, especially police records Example: Photo is of Camerooge, in Cambodia, assigned photographer to famous prison,prisoners were brought in blindfolded, then ripped off blind and lights were on and photographed, he could only say one line: look straight ahead, and he photographed 14,000 Cambodians, until that government was overthrown, so many dead bodies that it created body fields, so many unrecognizable dead people Photo with a number tag on them, and the person know they will be killed and its their moment of humanity S-21 prison, photographer: Nhem En, Khmer Rouge's Photographer Cambodia 1975-1979* Photograph of woman being photographed with her tag with numbers a longer tag, there is a woman's child's hand that creeps in the photo and they are all killed The photo is black and white, the background is white and grey, looks like drapes as there is texture with lights and darks, there is a woman with dark hair, white skin and a long sleeve dark shirt on, she has a tag with numbers on it on her chest, her eyes stare into the camera, her lips are pursed together and her eye balls are glossy, beneath her on her right arm creeps up a small white hand that clings to her, the photo is cut off here, so only her torso to head are showing

flashbulb memories

is a psychological term, means the moment you saw something and when it happened, the sound (aural) emotions (relate to age of understanding what happened) and its visual, vivid, illuminated, indelible, it's a memory that you don't change, you remember in the same way, this is the individual moment You didn't have to live it, it can be the moment you learned it and the aspects that birthed that memory Example: In the context of the Barbara Kirshenblatt-Gimblett, author of article about 9/11, the photo example thats a flash bulb memory for many people who saw it on television is Photo of abc news coverage of plane hitting world trade center, smoke busting out of building, the building crumbling in the sky with grey clouds crashing down in the blue sky, urban city scape below

"fever of reality"

is making an exact copy of reality, to make an exact, to believe you're making an exact copy of nature, to satisfy a craving for reality, considered to be a hallmark of Europe in the Enlightenment At each step of technology they wanted to eliminate through technology, the human process, that's the fever of reality Such a fascination with seeking/ creating reality led to later steps that lead to photographic development such with: Example: Louis Jacques Daguerre, "Two views of the Boulevard du Temple, Paris, Taken the same day" 1838 this depicts how early photography (daguerreotypes) emerged in wanting to copy everything like a mirror, to turn what is reflected outside as something tangible, a tangible memory. From Beaumont Newhall article... Image: The photograph is black and white, depicts a residential/city street with the rooftops and roads shown, the photos are taken during different times of the day, the eye is drawn mainly to a white building while the surroundings are with tones of grey, white and black with details in dark, trees line the road and are depicted in dark as well with buildings/houses on both sides of the road with the road swooping in the left side of the photo, in the first photo one can see two human figures that are very small and frozen in the photo of someone getting their shoe cleaned and in the next photo the shading is different, the houses/buildings are all now grey and black with highlights of white and the people are not there

collage

is the method of the context above of obit, eulogy, scrapbook etc. there is objects placed agency, a technique of composing by pasting on a single surface various materials not normally associated with one another in order to create a unique mix match of contents Such as newspaper clippings, parts of photographs, theater tickets, and fragments of an envelope Pin ups of their own drawings and clippings, to form your own experience Example: Smithsonian article from lecture slides online, shows collage example with a photo that has two pages and on each there is a black and white newspaper print text on the back with cut outs of women in various poses, all are dressed, in vibrant clothing and are cut and pasted onto the newspaper in various ways on both pictures, which encompass the entire page, this method creates a contrast between bright colored women in dresses, and lingerie with faded background of black and white text

anthropometry

measurements, allied to police photography, standardization was done with measuring poles (literal measurement chart) Example: Eadweard Muybridge wants to document human movement in these photographs, 19th century, he places 10-20 cameras around, have people move and snap camera at different times to capture different angles of movement Document a particular item, specific to human beings Document a nude model in movements He wanted to see how every part of the body articulated, movement, simple physical things, to capture whats happening Scientific reasoning is how do you break down the human body and movement Muybridge photo shown of naked man looks like climbing a fence, but it's a measuring graph Micro details captured about human movement The photo is black and white and shows a naked male with his backside showing, the viewer sees a wired fence and darkness around with his light body as the focal image of the photo, you see his muscles tense as he holds himself up with emphasis on his right hand reaching above and his left below his torso, his feet against are perched against the wiring too above his body in following his right hand, we see his back mainly, butt cheeks, arms and legs as the front of his body is not disclosed in the photo

Mediascape

sociocultural anthropologist and theorist, Arjun Appaduri Is this idea that mediascapes are fiction, they come from ideal strips of reality and you take them and make them photo centered and write a narrative around them, they furnish text Idea that if theres "complex connectivity" relating to someone in this mediascape, connecting to all corners of the world, cross-cultural narrative they want to get across Romanticizing photos*- Situating photos that deal with or describe in an idealized or unrealistic fashion Example: Maleka Alloula article photographs are all examples, such as: Example: In Malek Alloula's text in chapter 7 there is an image titled "young Moorish woman" who is laying down on fabric/a striped rug she has a pointed hat on, she is grinning, has jewelry on, her right arm stretch out and her breasts exposed beneath layers of loose clothing as she lounges on the carpet its BW This is true because the images are staged but create a narrative of what an Algerian woman is like in truth, it romanticizes what westerner's want and believe the women to be

ocularism

visibility, scrutiny, surveillance (film + photo) Example: Idea was touched on in Alec Wilkinson's article about Gordon Bell's lifelong technology that is worn over the chest Example photo: "Christ of Vallegrande" Che Guevara photo Che Guevara photo after he was executed and is pictured with officers → viewer is drawn towards middle, the face → Diagonals, everything even lighting makes you go towards the middle the photo was for proof of evidence that he was killed He died in Bolivia→ Originally looked like a hunting picture, him being the one hunted Important member of Cuban Revolution, fought with Fidel Castro Photo has Che lying down on slab looking alive, but it is not clear, he stares straight to camera, his chest is undressed, and officers point of his chest and stand around him in dark uniforms

Rephotography

you take a photograph someone else's and you try to find the same place it was taken and try to retake the photo, reproducing conditions and trying to make some sort of observation of it versus first photo Example: Camilo Jose Vergara* he photographed urban exteriors, he's Chilean A photograph of a building in East Coast, June 1980 in the South Bronx Description: The initial image is of a building in East Coast, June 1980 in the South Bronx, it is inhabited by people, lively, clean, upkept, windows have clothing hanging from them, the building is European style east-coast architecture, then two years later he checks on it again with a photo of progression of it being boarded up, now there's graffiti, broken windows, then part of boarding is broken, means people are living inside, squatters are inside, then it gets demolished and replaced by new complex (town looking houses) Over two years he documents the outside of the building over the course of every two years and he saw the progression of the bustling building to it being run down,boarded up, but squatters lived there and then it being destroyed Started to have a cycle of urban decay and tents, he captions them as part of the Reconstruction He comes back two years later and it became a new living location, identical townhouses built, the reason behind it was because large apartment buildings could become ghettos, and that if people owned half of the townhouse or homes they wouldn't become such locations The distance between the photographer, camera and object in focus matters because it creates a grid He has a book called the New American Ghetto He works in NY, Chicago, LA, Detroit, spent time in New Jersey