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VAR Supplements Archives - Society for Visual Anthropology

Anandi Salinas

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March 6, 2017

VAR SUPPLEMENT: Arjun Shankar on Critical Visuality and Image-Making

March 6, 2017 | By | No Comments

Classroom Activities and Discussion Questions

Anthropologists working with photography and youth have a common dilemma: how do we produce images that do not reinforce stereotypic imaginings of those who we work with which we are constantly consuming online and/or on television? How do we combat image regimes that portray those who we work with in uni-dimensional and deficiency-laden ways? This is the central dilemma brought up in the article, Auteurship and Imagemaking, which provides one example for how we might “see” communities differently through their own creative praxis.

The following two-part exercise is meant to provoke students to think critically about the types of images they consume as part of development and humanitarian aid interventions. They should, by the end of this lesson, be able to understand how images facilitate particular ways of seeing communities and the multiple agendas that these images are used for. Moreover, in doing this critical excavation, they should be able to begin thinking about how they can produce alternative images in collaboration with those depicted.

 Part-One

  • Have students pick a development or humanitarian aid organization that works with children whose image practice they want to assess. Have them delineate:
    1. What the organizations primary goals are
    2. Types of intervention strategies
    3. The primary populations that they work with
    4. Funding sources
  • Have students outline some of the assumptions that the organization has. These might include assumptions regarding:
    1. Who needs help and why
    2. Who should be facilitating change and why
    3. The appropriate means by which change can occur
  • Have students choose 3-4 images from the organization’s website. Once they have done this, have them answer the following questions:
    1. Who has taken the photograph? What social groups (racial, gender, national) are they a part of?
    2. Who is the primary audience for the photographs?
    3. What kind of photographic choices has the photographer made? How are the people in the photograph depicted?
    4. What do we learn about the community based on the images produced?
    5. How is the image distributed?
    6. What else is on there on the webpage on which the photograph is placed?
    7. What are the intended goals of these images?
    8. How might images like this influence how the organization intervenes and/or interacts with the community?
  • Given these forms of image circulation, have them identify the most serious representational issues that arise with regards to the community in question? Have them also postulate how those within the community depicted might react to such images.

Part-Two

  • Show students the image from the article Auteurship and Imagemaking. The driving question should be: what do you see?
    1. Ask them to identify where they think it was taken and why?
    2. Who they believe took the photograph and why
    3. For what purpose was the image taken?
    4. Where might the photograph have been exhibited and why?
    5. What do they learn from the images, about the photographer and/or those who are on screen?
  • Reveal to the students that these images were taken by students from a rural community in India. Then ask:
    1. How do these images challenge or complicate the depictions that were excavated in part one?
    2. How might images like these facilitate a different set of interactions between organizations and those who they are working with?

Extension Exercise

  • Have students design their own photo-voice project for youth:
  1. Who should be involved in the image-making process?
  2. What are the goals that the project should consider?
  3. What aesthetic choices might be made that differ from those that they have encountered in dominant visual regimes?
  4. What new questions should they ask? What criteria should they use to select photographs?
  5. How might there image-making practice change how organizations like those who they researched intervene?
Anandi Salinas

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February 27, 2017

VAR SUPPLEMENTS: Spring 2016 (VAR 32:1) Special Issue on ‘the Greek Crisis’

February 27, 2017 | By | No Comments

Uncertain Visions: Crisis, Ambiguity, and Visual Culture in Greece

A woman photographing, with her mobile phone, the material landscape that followed a political demonstration against austerity measures in June 2011, near Syntagma Square. Images of debris, graffiti and destruction are often featured in various outlets as convenient metonyms of ‘the crisis’ and they fuel divergent cultural investments ranging from disdain for political instability to awe for protesting aesthetics. Though this picture is undercut by various levels of unknowability (e.g. what will her images do for viewers? What are these pictures for her?) it condenses a certain desire to ‘see’ and visualize ‘the crisis’ and hints at the ambiguity and unpredictable productivity of such photographs. The visualizing desire is central to commercial mechanisms and to many people’s aspirations and despite, its realist claims is often infused with uncertainty about what the crisis looks like. The density, ambiguity, impossibility and productivity of seeing, representing and visualizing the ‘Greek crisis’ are extensively considered by authors of this special issue. Photo by K. Kalantzis

“Introduction—Uncertain Visions: Crisis, Ambiguity, and Visual Culture in Greece,” by Konstantinos Kalantzis

  1. What are the possible roles of the visual in an inquiry into ‘the Greek crisis’? Give some examples of such an inquiry and describe how it may involve a sensory ethnography.
  2. What do we mean by sanguine approaches to the crisis? What kind of critical questions can we ask about anthropologists’ identification with suffering subjects?
  3. Note some problems and limitations that stem from using the term ‘crisis’ to describe contemporary Greek social practice.

4 3

On seeing as practice and metaphor – These pictures were taken during the early stages of what later became known as the ‘Indignant’ protests (compare to other demonstrations taking place during 2011 in Spain and elsewhere). They depict crowds of different social backgrounds, before the consolidation of political geographies that created a distinction between the more patriotic-nationalist and the more leftist assemblages (a distinction complicated anew with Greece’s post-2015 coalition government, comprised of a leftist and a rightist party united by anti-colonial; anti-austerity rhetoric). What interests me particularly about these pictures is that during the demonstrations the crowd kept looking around, following loud noises, to trace possible developments in the protest. In people’s anxious effort to see what was happening, one can grasp both the sensory landscape of Greek demonstrations, but also conjure a metaphor of a practice that most Greeks have been involved in; i.e. trying to sense and describe what it is that is happening with and to the country since 2010; their economies, relationships and spheres of daily life. This effort also concerns ethnographers, as the present phase has generated a significant corpus of work that this special issue engages. Photos by K. Kalantzis

“Chemtrails, Crisis, and Loss in an Interconnected World,” by Alexandra Bakalaki

  1. On the basis of the paper, what seem to be the challenges involved in internet research as opposed to participant observation?
  2. Why does the author explicitly refrain from categorizing the chemtrail narrative as a conspiracy theory?
  3. What are the ways in which middle class educated subjects who reject the chemtrail narrative stereotype those adhering to it? To what extent does this stereotyping draw on longstanding views on the merits of modernization?
  4. How does the chemtrail narrative relate to accounts that attribute the Greek economic crisis to the purposeful action of foreign agents?

 “Proxy Brigands and Tourists: Visualizing the Greek-German Front in the Debt Crisis,” by Konstantinos Kalantzis

  1. What does the author mean by nativism? What does nativism do for people in Greece, today and how is Crete enrolled? Give some examples of Crete’s signification that indicate how it is cast as a nativist force.
  2. What role does the visual play in the constitution of nativism in Greece?
  3. How does the locals’ approach to tourists relate to wider national trends as regards the perception of Germany? Does photography reveal things that differ or confirm wider political dynamics?
  4. How does the study of material culture help us grasp the ambiguous complexity in locals’ relationships with Germans in Sfakia, Crete? Give some examples of discontinuity between verbal and material manifestations.

5

This image depicts the faded graffiti of a now-abandoned restaurant in highland Sfakia. It depicts a man in Cretan attire (the emblematic figure of ‘The Cretan’ as found in dozens of Greek registers) and features two signs addressed to German visitors, assuring them that the owner speaks their language. The maker of the graffiti, a shepherd proud of his ability to painting, acquired the relevant language skills by living in Germany as a guest worker. His trajectory is indicative of the asymmetries and power dynamics in early Greek tourism; i.e. an ex-worker sets up a business to serve people from the (powerful) industrial host country. Such dynamics are grasped by locals’ expressions of suspicion of tourism and its demands; dynamics that are simultaneously subverted if one looks at particular material spheres, where the presence of Germans is marked by affect and admittance into local sociality.

Figure 6

Dynamics of affect and exchange are captured in figure 6 showing B&W images of local men framed at a shop mostly addressed to tourists in the city of Chania. These images were originally taken by a German woman in the 1980s. As part of her ongoing engagement with locals she circulated and gifted these images to the families of the sitters. The nephew of one of these subjects decorated the walls of his shop with these pictures. They then come to serve both as familial objects, but also as emblems of Sfakian descent in an environment that markets Cretan-ness for consumption. The practice further underscores the Sfakian use of pictures sent by visitors as a means of representing and remembering family members. The practice is replete with asymmetries, given that it highlights how rural Greeks historically relied on (powerful) outsiders to photographically visualize themselves. At the same time, the transactions and the actual sites of display encapsulate moments of affect and warm exchange; as in the dozens of stories heard in Sfakia, where Germans and other Europeans visit local families after decades from their original visit and engage (often in tears) around those early pictures. Photos by K.Kalantzis

 “The Metaphysics of the Greek Crisis”: Visual Art and Anthropology at the Crossroads,” by  Eleana Yalouri

  1. Is ‘ambiguity’ a negative or risky tool to apply in anthropological research? Are there cases where it can be fruitfully applied, for example when dealing with unpredictability and uncertainty?
  2. Think of possible reasons why an anthropologist should, or should not, choose to collaborate with visual artists when studying ‘the Greek crisis’. In what sense could (or could not) art tools and methods enhance the ways of doing and writing anthropology?
  3. If for artists activism and intervention in their field of study and creation is often part and parcel of their method, to what extent do you think that anthropologists should adopt such active involvement in their own field.

 “‘Crisis’ as Art: Young Artists Envisage Mutating Greece,” by Elpida Rikou and Io Chaviara

  1. Can you imagine an artwork as a partner in your research? If not, why? If yes, can you give an example? In both cases, what theoretical references would you choose?
  2. “Is contemporary Greek art capable of conveying the know-how of dealing with a crisis?” (p.49) At this particular historic conjuncture, would you like to “Learn from Athens” as the art project Documenta 14 proposes? What could be the arguments for and against such a project?
  3. “The images of the Greeks in crisis (…) how they become consumable commodities both inside and outside of the country” (p.55) What could be those images? Do they become “consumable commodities” and in what sense? Do you think that the artwork “T.E.O” achieved the artist’s goal?

 “The ‘Greek Crisis’ through the Cinematic and Photographic Lens: From ‘Weirdness’ and Decay to Social Protest and Civic Responsibility,” by Erato Basea

 

Tino Sehgal’s exhibition in and around the space of the Roman Agora in 2014 was one example of how art can activate public spaces and contribute to a dialogue about public life and political participation in the present. This is the photograph I took on my way out that day. The photograph captures the African-American immigrant, who was enjoying the early October sunshine. If you are as careful as I was that day, you will notice that on the pavement, an anarchist tag reads, in Greek, “skou[pa] pantou” (‘sweeps everywhere’), alluding to (and criticizing) police round-up operations and mass arrests of illegal immigrants. A public art project, immigrants, police repression, and resistant graffiti are all visible in the textured city and in this photograph. Photo by E. Basea

  1. To coincide with the November issue of Artforum on art and politics, artforum.com released a video in which artists, including Carrie Mae Weems, Matthew Weinstein and Vitaly Komar, share their views on political art. Watch the video and discuss what renders art political, according to the artists interviewed.

Link: www.artforum.com/video/mode=large&id=64336&page_id=0&ref=newsletter

  1. “The essence of politics is not plurality of opinions. It is the prescription of a possibility in rupture with what exists” (Alain Badiou, Metapolitics, 2006: 24). Can art create spheres of multiple political action and participation?
  2. This is a photo taken by the author in 2014, in downtown Athens. Describe the picture and its references to antiquity. Would you think that the graffiti resists official discourses about Greece’s ancient past? To reply to this question, you might want to consider ‘Greece | Gods, Myths, Heroes’ (2014), Andonis Theocharis Kioukas’s 12-minute tourism video funded by the Ministry of Tourism. Would you argue that the video portrays an image of the country to tourists that differs considerably from the urban cityscape that residents face daily? Photo by E. Basea.

You can find the video here: https://www.youtube.com/watch?v=5L0jzJTm9ug

 “Crisis and Visual Critique,” by Christopher Pinney

  1. How does Azoulay’s work contribute to to an exploration of politics and the ‘crisis’?
  2. In what way did the actual practice of photography complicate Bourdieu’s theoretical and sociological model?
  3. Consider some elements of Benjamin’s approach to photography and explain how these might be useful in thinking about political subjectivity and the ‘crisis.’
Anandi Salinas

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November 1, 2016

VAR SUPPLEMENTS: Chihab El Khachab on Visualizing the Final Products of Commercial Films

November 1, 2016 | By | No Comments

Classroom Activities and Discussion Questions   

Egyptian filmmakers involved in commercial film production face a common problem: how can we visualize, right now, what our movie will look like, eventually?

This exercise is meant to illustrate the difficulties generated by this problem, and how filmmakers try to manage it. The exercise is incremental, so you can stop at any one step and reflect back on what was done, but try to follow the sequence if possible. Each step can be done on a different day.

  1. A group of 5 filmmakers are given the following scene to shoot by an experienced screenwriter and a small producer who cannot afford to shoot in an actual plane:

Scene XX – PLANE – NIGHT/INTERNAL

The lights are dimmed. Everyone is sleeping.

MURAD sits in the exact middle of the plane. An OLD WOMAN (60 y-o, tanned, with black and white hair, wearing dark sunglasses) is sleeping deeply to his right. To his left, an OLD MAN (60 y-o, tanned, white hair but looking healthy) seeks to chat with Murad by all means.

Murad lies down with his eyes closed.

OLD MAN

What are you going to do in Cairo, son?

Murad doesn’t pay attention to him.

The old man pokes Murad and wakes him up a little.

OLD MAN

Is it for a visit or for work?

Murad looks angrily at the old man, turns around, and goes back to sleep.

OLD

(frustrated)

It ain’t illegal to talk…

Murad quickly glances towards the old man and goes back to sleep.

CUT

Using any tools you need (pens, papers, smartphones, cameras, etc.), craft a short description of the way in which you would like to shoot this scene individually. Include details about camera angles, camera movements, actor direction, set design, costumes, and sounds.

  1. Gather back with your fellow filmmakers and, in turn, describe to them what you have envisioned to shoot the scene.

Question #1: Are there discrepancies in each person’s description? What are they and why do you think they arise?

  1. Once everyone has given his/her description, try to reach a consensus on how to shoot the scene.

Question #2: Are there difficulties in reaching the consensus? If not, why not? If so, what are they?

Question #3: How does each filmmaker argue his position? What kinds of arguments are brought forth? Who gets the last word?

  1. Once a consensus is reached, divide the tasks between a director (who casts the actors and oversees the action on set), a cinematographer (who holds the camera and manages lighting), an art director (who manages the set and props), a stylist (who manages costumes), and a production manager (who scouts potential shooting locations and facilitates the logistics of shooting). On another day, shoot the scene.

Question #4: Are there any discrepancies between what was agreed at step #4 and what happens on set? If not, why not? If so, how do they compare to the discrepancies observed at step #2?

Question #5: What kinds of social interactions evolve on set? How are they different from the interactions you’ve had until point #4?

Variation (1): Instead of #1, try the following: A group of 5 filmmakers is asked to collectively write a scene where Murad, a major male movie star, meets his long-lost sister Leila.

Question: What are the difficulties involved in writing the scene? How does the fact that it was collectively written affect steps 2 to 4 afterwards?

Variation (2): Instead of dividing tasks at step #3, try designating a director, a cinematographer, an art director, a costume designer, and a production manager before beginning step #1. Think about how this division of labor affects the process, and how it compares to an absence of division of labor at steps #1-2.

Additional Videos

Short videos about the making of Décor:

https://www.youtube.com/watch?v=wqyGmcQScvI&list=PLuVdxg0hw7w2Le1SSFccDUCBDcESzd_ZP

https://www.youtube.com/watch?v=4WT6mLu5bkU

https://www.youtube.com/watch?v=7fRXf-zLiL8

Readings on Egyptian Film

Arasoughly, Alia (ed.) (1996). Screens of Life. Critical Film Writing from the Arab World. St. Hyacinthe, Québec: World Heritage Press

Armbrust, Walter. (2004). ‘Egyptian Cinema On Stage and Off’ in Andrew Shyrock (ed.). Off Stage/On Display: Intimacy and Ethnography in the Age of Public Culture. Stanford: Stanford University Press

Flibbert, Andrew. (2007). Commerce in Culture: States and Markets in the World Film Trade. New York: Palgrave-Macmillan

Shafik, Viola. (2007). Popular Egyptian Cinema: Gender, Class and Nation. Cairo and New York: American University in Cairo Press

Shafik, Viola. (2007). Arab Cinema: History and Cultural Identity. Cairo: American University in Cairo Press

Additional Resources

http://www.elcinema.com/en/

This website is the most complete online Arabic movie database, akin to IMDB.

https://www.youtube.com/watch?v=sV18A9kbuck&list=PL0l541FH_W0TCkn1FMjAobK8j59pgyHPd

This channel includes some Egyptian movies with English subtitles. These movies are in no sense representative of contemporary Egyptian cinema as a whole, but they give some sense about its visual worlds.

Anandi Salinas

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November 1, 2016

VAR SUPPLEMENTS: Stephanie Sadre-Orafai on “Models, Measurement, and the Problem of Mediation”

November 1, 2016 | By | No Comments

Stephanie Sadre-Orafai on “Models, Measurement, and the Problem of Mediation”

CLASSROOM ACTIVITIES & DISCUSSION QUESTIONS

  1. One of the key ideas in this article is that while we think of numbers as “objective,” we must understand the theories of mediation in which they are enmeshed. As media, number regimes do not move seamlessly across different domains (i.e., from global health to fashion modeling). Choose a profession you know well or a domain of your everyday life (e.g., dating) and catalog the different uses and meanings of numbers in these contexts. What theories of numbers are built into these practices? What are numbers opposed to in these contexts? What do numbers do in these contexts that other representations cannot? Are numbers vulnerable to other kinds of evidence in these contexts? How are numbers used to construct certain kinds of bodies? What kinds of bodes are these? Working in groups, compare your results. How would the rules and logics of numbers in one domain or profession work in another?
  1. Watch the news coverage of model BMI-threshold bans in Spain (2006), Israel (2012), and France (2015). How did coverage evolve as the ban was taken up in these different national contexts? What changed? Why? How were models portrayed in these news clips and videos? Who were regulators seeking to protect? How did other issues, like immigration, get tied into these discussions?

a. Spain Bans Overly Skinny Models from Fashion Shows (2006)

SOURCE: NPR
LINK: http://www.npr.org/templates/story/story.php?storyId=6103615

b. Israel bans too-skinny models (2012)

SOURCE: CNN
LINK: https://www.youtube.com/watch?v=qvHDsLNhpmo

c. France divides the fashion world by banning skinny models (2015)

SOURCE: Telegraph.com
LINK: http://www.telegraph.co.uk/news/worldnews/europe/france/11514613/France-divides-the-fashion-world-by-banning-skinny-models.html

  1. Watch “Out of Fashion: The Absence of Color” (2007) and/or read the comments in Jezebel.com’s collected statistics on racial representation at New York Fashion Week (2014). What kinds of arguments are being made here by the panelists/authors/commenters and how are numbers being used to support or refute them?

a. Out of Fashion: The Absence of Color (2007)

SOURCE: LIVE from the NYPL, panel discussion on the dwindling numbers of black models in high fashion with Bethann Hardison, Lori Goldstein, David Ralph, Tracy Reese, and James Scully
LINK: https://www.nypl.org/audiovideo/out-fashion-absence-color

b. New York Fashion Week: Diversity Talks But White Faces Walk (2014)

SOURCE: Jezebel.com, collected statistics on racial representation of models at New York Fashion Week
LINK: http://jezebel.com/new-york-fashion-week-diversity-talks-but-white-faces-1522416724

 

Anandi Salinas

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November 1, 2016

VAR SUPPLEMENTS: Patrick Sutherland on learning documentary photography and constructing photo essays from groups of photographs

November 1, 2016 | By | No Comments

Extending the Frame:  some notes on learning documentary photography and constructing photo essays from groups of photographs

Patrick Sutherland

The editors of Visual Anthropology Review invited me to write this essay because they are keen to encourage the submission of photo essays for potential publication within the journal. It is designed as a companion piece to my essay in VAR (issue 32:2, 2016) and offers some advisory notes to support the submission of photo essays to the journal.

Photographs in photo essays are constructed from the continually changing world around us. They are made by photographers rather than just captured by cameras. Consequently they often reveal the concerns and personal perspectives of the photographer as well as recording what is framed by the technology. Through reflection on my own personal experiences of learning documentary photography and subsequently teaching the subject, I suggest how an understanding of different approaches to making photographic images can be linked directly to the editorial processes involved in presenting these images.

The Newport School of documentary photography

I studied documentary photography at Newport College of Art in Wales in the late 1970s. At that time, the core taught program consisted of a sequence of linked assignments entitled “Man at Work”, “Relationships” and “Establishing Shots”, delineating three kinds of image that could be combined to make a simple three picture story. These forms of photographic imagery had been identified by the course founder David Hurn as building blocks for a conventional magazine photo essay.  Other important ingredients included portraits and close up details.

Fundamental to the Newport philosophy was the understanding that documentary photography was best learned by actually making pictures: by producing work, shot in real situations, and presenting it for feedback within a supportive, critical environment. For every shoot, students were expected to present edited and marked up contact sheets from a couple of rolls of film. These were presented at “crit sessions”, one to one tutorials with a member of the staff team. The assignments were undertaken one after the other: you would spend three weeks or more photographing “Man at Work”, returning for crits on a daily basis before moving on to the next assignment.

In these sessions, a tutor would examine the contact sheets, looking at the whole sheet and then the images, frame by frame, and respond to your individual edit, choice of the best frames and overall approach to photographing. They would discuss what they felt worked and what did not work, about the framing and your shooting methods. Tutors would remark on the position of the camera and how by moving the camera backwards or forwards, up or down, or from one side to the other photographers control the position and arrange the distribution of the different elements within the frame. They would consider the timing of the exposures, whether there were better potential moments to be captured. They would also comment on whether they felt you were moving around too much rather than staying with a situation and letting it develop in front of you or not moving enough and failing to explore and vary the pictures. Finally they would note whether they felt you were overshooting, taking too many pictures without thinking and needed to “tighten up” or undershooting, being over cautious, rigid and needed to “loosen up”. You would than be sent out to take more pictures, often returning to photograph the same person or situation again.

As students, you were encouraged to respond to and select situations that felt rich in visual potential and then allow things to emerge and develop in front of the camera: sometimes shooting several frames without significantly changing position, but always attempting to make each frame work. This was an important lesson because this approach acknowledges and embraces the element of chance and allows for the unexpected. This is a key ingredient of documentary and reportage photography.

The editing process was based on meticulous frame by frame comparison. Minor details of gesture or expression, the tilt of a head, the position of a hand, the direction in which the eyes were pointing, or the unexpected appearance of a figure in the background make one image more or less effective than the other: effective in terms of overall graphic structure or clarity of visual expression, in terms of conveying a particular mood or feeling or in making a specific point of importance to the ideas being communicated. These subtle visual details are the heart of reportage photography, of the kind we see in the work of Cartier-Bresson, Sebastião Salgado, Susan Meiselas, Eugene Richards and many other photographers working closely with people and operating within a humanistic tradition. Importantly, this process of detailed examination of contact sheets feeds directly back into a developing understanding of what to pay attention to whilst shooting. It also highlights the expressive potential of the medium.

Students worked with a handheld 35mm analogue camera with a single fixed focal length lens (either 35mm or 50mm). Flash, high-speed film or zoom lenses were not allowed. These restrictive, almost puritanical rules had a very specific effect and were paradoxically liberating.  Working with a fixed lens rather than a zoom lens means that you have to physically move the camera in order to fill the frame with the subject matter you are photographing. As your experience grows, this process of understanding when a photograph is working becomes almost instinctive. You move around because the image you are attempting to produce demands it. Understanding where to place the camera and where to stand becomes a kind of embodied knowledge. Moving the camera or, rather, moving with the camera is fundamental to reportage photography.

Working with a standard or slightly wide-angle lens when photographing people means that you need to be close to them to fill the frame. Consequently you have to communicate directly and develop working relationships. These social skills become an essential part of the role. Photographers have to develop the ability to enter social situations and to remain in these situations whilst they are working. This obviously parallels the anthropological methodology of participant observation. Photographers have to be able to move around the situation they are documenting and yet remain distanced enough from it to be observing it and producing images rather than being drawn in.

For the assignment “Man at Work,” you were required to photograph an individual person working. The aim of the assignment was to produce a single effective photograph of someone doing something: a man digging a hole in the road or a woman neurosurgeon in an operating theatre for example. You were trying to create a frame that would show a recognizable person and also articulate the essence of the work being undertaken. Body posture and the position of the hands were key elements to pay attention to. The choice of worker, activity and location was left to the individual student.  From the start you were encouraged to pursue your own interests, connections and ideas and through this to develop your own approach to the medium, but also to vary the kind of situations you were working in and gain a breadth of experience.

The subject of work is an excellent starting point for new photographers: people are often comfortable in the formal occupational roles they inhabit. If the work is busy or engrossing they soon lose awareness of the camera. Photographs of people doing things are important in photo essays. They introduce individual people and highlight the socio-economic roles they play, the positions they occupy or the activities they are associated with. However my memory of my first assignment at Newport is primarily of embarrassment. My inexperience felt contagious. I had chosen to photograph a cobbler working in a very cramped space. I was uncomfortable with the equipment I was using and concentrated so much on his hands that I managed to leave his head out of the frame for most of the photographs. It is profoundly peculiar behaviour to point a camera at another human being for an extended period of time and it takes time for this to become normalised.

What became clear later was that we were all learning a whole raft of important skills within which the technical, visual and photographic aspects were only a part. Learning social and interpersonal skills, gaining confidence in approaching people and getting access to social situations, gatherings and institutions. Learning how to negotiate our way into other people’s lives and most importantly how to stay there long enough to be able to photograph over an extended period of time. Photographing people now feels like an extraordinary privilege, having the opportunity to observe human activities at close quarters. For a photographer like myself and many of those whom I have taught and know, photography is like a passport into other worlds. This is one of the principal motivations for practitioners, the potential of being able to step outside your own day to day existence and experience other people’s worlds and perspectives.

The next assignment was entitled “Relationships”, essentially an assignment to photograph the visual manifestations of human relationships.  Starting off with relationships between two people and looking out for those clues of gesture, posture and facial expression that articulate the nature of the relationship taking place. This was immediately more complex than photographing people working. Moments when the relationship between people is expressed visually are often fleeting and transitory. One of the important lessons here was the possibility of searching for something very specific and perhaps ephemeral, rather than just mechanically recording what was continuously visible to everyone. Relationship photographs are important in determining the overall mood and tone within a photo essay. They can reveal complex human experiences of intimacy or alienation for example.  They can manifest the expression of human feelings and the emotional dimension of interactions as well as revealing relationships of hierarchy and power.

The final single picture assignment was to produce establishing shots. This kind of image is concerned with place and space.  It also introduces the idea of pacing within groupings of photographs: of having photographs that are taken from different distances and show a different sense of scale. The choice of establishing shot depends substantially on the story that is being told, the fundamental ideas being communicated. It locates the other photographs in a particular place or environment. So this assignment introduced the idea of constructing a narrative through several photographs, of trying to communicate a story through visual means.

After this assignment the students were tasked with producing short picture stories: groupings of images on a specific theme, created from the three visual elements described above. Other kinds of images like portraits and close up details could be added to extend the story and vary the visual structure of the narrative. In this way, the experience of constructing smaller picture stories gradually develops into undertaking longer photo essays and documentary projects.

The Newport system was quite widely criticized. It was seen by some as being old fashioned, perhaps even reactionary, harking back to the dying traditions of magazine photojournalism within the publications Picture Post and Life magazine rather than aligning itself with contemporary trends and emerging practices within documentary photography.   It was seen by many as being reductive, simplistic and tending towards the formulaic rather than encouraging individual creativity.

Of course the world cannot be broken down into such neat typologies. But the Newport system provides a template that can be applied to many situations as well as a set of rules that can be reacted against. Thinking of different ways of making pictures encourages a process of reflection and analysis and advances the development of workable visual strategies. In complex and rapidly changing social situations it is often difficult to decide what to photograph, what not to photograph and where to position the frame.

The system is also flexible enough to be employed for approaches other than photojournalism. In particular it offers clear potential for anthropologists interested in recording aspects of the social world for later analysis or equally for undertaking a photographic documentation in order to present research in a visual format. Such photo essays offer visual anthropologists a set of tools and an overall framework within which to operate and experiment. Working closely with people over an extended period of time, observing and recording the minutiae of human behavior brings the photo essay very close to the ethnographic methodologies of social scientists.

The photo essay is not the only approach to producing documentary photography in social situations. Indeed it is not that commonly employed by contemporary photographers.  Other approaches include working serially, producing an extended series of photographs that are structurally and formally similar: a group of interiors, portraits or still life details for example.

Contemporary digital cameras are extraordinarily sophisticated technologies. They remove much of the craft, skill and knowledge once needed to produce high quality images. But as yet they cannot make essential decisions about framing or understand what is significant and worth photographing.  And for some photographers, there is another issue. Digital technologies produce images with a similar overall tonal quality and feel. Many fine art documentary photographers are using larger format film cameras or other analogue technologies as a reaction to this tendency.  In an increasingly competitive field, documentary photographers increasingly want to assert individual authorship over their images: a recognizable authorial style is important in the current marketplace.  This clearly clashes with the idea of documentary as a relatively neutral and value-free process of recording. It also runs contrary to anthropological ideas of incorporating the perspectives of others into visual representations of the world.

The Craft of Editing

Editing single pictures from a shoot, whether by selecting individual frames from contact sheets or choosing between digital files displayed on a computer screen is a process of reduction, of weeding out the weaker images and choosing the more effective images. But when producing a short picture story, a longer photo essay or a documentary project, editing becomes a process of construction, of bringing together different kinds of images and different design elements to build a varied visual narrative. The specifics of this process depends partly on the nature and the scale of the intended output: whether it is for a magazine essay, a book, an exhibition for a gallery wall, a projection at a festival, or a portfolio on a website.

For many of these outputs, editing consists primarily of arranging a linear sequence of images: choosing an image to start and finish the sequence and then ordering the other images that fall in between.  There are no formal rules or guidelines to adhere to. It is usually a process of experimentation, of trial and error.  Personally I find it easier to work with actual printed images rather than working on a computer screen. I find it easier to be able to shuffle small prints around on a table or floor, experimenting with different sequences and allowing for the unexpected.

Although the sequence from start to finish is a fundamental element of most published photo essays, the format, whether in a magazine or a book, allows for the possibility of more complex connections between images:  images facing each other across opposing pages, images above or below other images.  It also allows for substantial variations in scale. Horizontal images on a single page, images running across the gutter but with a white border, and images bled off all four sides of a double page spread. Photo essays commonly employ visual variety as an editorial and design strategy and avoid repetition unless repetition is a key concept of the essay. Most importantly, a photo essay is substantially more than a portfolio of the photographer’s best images.

From my experience, the final form of an essay often emerges from a process neither entirely rational nor completely controlled.  It is of course really important to understand the individual images you are selecting, to know why they are effective and what they contribute to a larger grouping.  However, subtle and unpredicted visual and narrative connections appear between images randomly placed next to each other when editing. Shifts of meaning occur when the structure and sequence of a narrative is changed: a different ordering of the same group of images changes the overall visual statement. By altering the placement of an image in a sequence, you alter the interrelationship between the images. By changing the size of individual images in the wider grouping you are changing the emphasis placed upon these images within the overall narrative construction. Such interplay involves not just the rational grouping of images by subject matter and theme but the emotive connections made between images in terms of their mood and tone. It is always informative to pair images together and see what happens when they are viewed in context with each another. Unexpected formal connections emerge: visual elements echoing each other or the dynamics of gesture and graphic shape that lead from one image to another within a layout.

Once again, there are no formal rules to follow, but you can get a great sense of the possibilities of this kind of editing by looking at a wide variety of documentary photography books. As an exercise in the possibilities of presentational form, it is worth trying to analyse how and why the photographer has sequenced the images from beginning to end, where the images sit on the page and how the images vary in scale, if at all, within the overall narrative structure. Some books use only one size and shape of image throughout, for example Martin Parr’s Commonsense (1999) or Gilles Peress’ The Silence (1995) both of which use images bled to the edge of the page but to very different effect. Joel Sternfeld’s On this Site: Landscape in Memoriam (1996) or Mark Power’s The Shipping Forecast (1996) use one size of image on the same position on the page, each framed with a white margin. In contrast, some books employ substantial variation in the size of images, for example Sebastião Salgado’s Workers: Archaeology of the Industrial Age (1993) or Sahel: L’Homme en Détresse (1986) both of which function like extended magazine photo essays but reproduced in book format. Some books use very substantial captioning, for example Philip Jones Griffiths’ Vietnam Inc (1971) or Taryn Simon’s An American Index of the Hidden and Unfamiliar (2007). Others have no captions at all, for example Josef Koudelka’s Gypsies (1975).

But producing the final edit for a photo essay is not merely a question of sequencing and presentation on the page. During the editing process, you have to come back repeatedly to the basic question of what the essay is about, what you as a photographer are trying to communicate and whether the final structure succeeds in this ambition.

Photojournalism, Documentary Photography and Visual Anthropology

I have been running a workshop on the MA in Visual Anthropology at Manchester University’s Granada Centre for nine years, and am currently a member of the Photography Committee at the Royal Anthropological Institute in London. I am interested in the potential overlap between visual anthropology and the practices of documentary photography and photojournalism.

Each of these fields is fluid and increasingly difficult to define.  I think of documentary photography as being a broad territory encompassing many approaches to still photography, but at its core is the process of recording and description.  There is no inherent subject matter for documentary photography, nor are there obvious limits to its attempts to describe the world through visual images.  Perhaps it can be understood as embracing the genre of photojournalism, which is a kind of applied documentary photography, informed historically by a journalistic and news agenda but now commonly operating independently of its traditional outlets.  And perhaps the key aspect defining visual anthropology as a form of documentary practice utilizing still photography is the conceptual framework within which the practice is situated rather than what the specific individual images taken by a visual anthropologist actually look like.  I suspect that the anthropological nature of still photographic practice is to be found less within the individual imagery and more within the interrelationships between groups of images and with their relationship to accompanying text.

In this context it is revealing to examine Danny Lyon’s recently reissued book Conversations with the Dead (1971) a project about Texas penal institutions in the late 1960s. On one level this is classic photo essay that could easily have been published in a magazine and in that context would have been viewed as a work of photojournalism.  But Lyon presented the work in an extended book format, a clear decision to retain editorial control over the sequencing and presentation, and the use of captions and texts.

The book is constructed not as magazine layouts but as a simple linear sequence with images positioned on the right-hand page, one single picture after another, and minimal captions on the left. The photographs start with a filmic sequence of prisoners arriving and entering the penitentiary.  This sequence functions not only to describe the journey from outside to inside, from freedom to imprisonment, but it also takes the viewer, through the experience of the photographer, deep inside the culture of the prison.

It is revealing to examine where Lyon positions himself.  Much of the time he is on the ground in amongst the prisoners and photographing from within looking out or looking up. This deep immersion within the community he is documenting adds significantly to the sense of an inmate’s perspective, especially noticeable when he photographs the prison staff.

There is substantial repetition in the overall sequence.  A magazine photo essay might tend to avoid the replication of similar kinds of pictures but in the context of a longer book such recurring usage amplifies the sense of regulation and institutionalized procedure. There are several images of shakedowns, of the strip searches of labourers re-entering prison from the fields. They detail the relentless day to day indignities suffered by felons. The repetition adds to the sense of the unremitting loss of individual dignity and invasion of personal space.

Conversations with the Dead includes the letters and paintings and even the execution order of an inmate called Billy McCune (McCune was eventually released). They open up another avenue of communication, giving the reader a bleak sense of the hopeless and remorseless brutality of the penal system of America at that time.  They also add significantly to communicating the worldview of the prisoners being documented. This commitment to expressing the views and perspective of the inmates takes Lyons’ work further away from photojournalism or conventional documentary practice and much closer to a work of visual anthropology.  The anthropological quality of the work is therefore located not within the specific single images but in their cumulative effect, in the photographer’s insider and immersed standpoint and perhaps equally in the author’s collaboration with McCune.

Bibliography

Jones Griffiths, Philip. 1971. Vietnam Inc. New York: Collier.

Koudelka, Josef. 1975. Gypsies. New York: Aperture.

Lyon, Danny. 1971. Conversations with the Dead. New York: Henry Holt and Co.

Mitidieri, Dario. 1994. Children of Bombay. Stockport: Dewi Lewis.

Parr, Martin. 1999. Commonsense. Stockport: Dewi Lewis.

Peress, Gilles. 1995. The Silence. New York: Scalo.

Power, Mark. 1996. The Shipping Forecast. London: Zelda Cheatle Press.

Salgado, Sebastião. 1993. Workers: Archaeology of the Industrial Age. London: Phaidon.

Salgado, Sebastião. 1986. Sahel: L’Homme en Détresse. France: Prisma Presse.

Salgado, Sebastião. 1986. Other Americas. New York: Pantheon.

Simon, Taryn. 2007. An American Index of the Hidden and Unfamiliar. Göttingen: Steidl.

Sternfeld, Joel. 1996. On this Site: Landscape in Memoriam. San Francisco: Chronicle Books.

Kate Hennessy

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July 27, 2016

VAR SUPPLEMENTS: David Kloos on Future Archives and Everyday Life in Indonesia

July 27, 2016 | By | No Comments

Classroom Activities and Discussion Questions   

David Kloos’s “Living in a Makeshift World: Mobility, Temporariness, and Everyday Life in Indonesia” (VAR 31-2, Fall 2015) uses images from Recording the Future (RtF): An Audiovisual Archive of Everyday Life in Indonesia to analyze the experiences and agencies of domestic migrants in Indonesia. The following set of questions and resources provide teaching tools for use in both graduate and undergraduate courses.

Questions for classroom discussion
Content

  1. How does internal migration change Indonesian society? How do social, economic and political changes, including the forces of globalization, change the practices and experiences of internal migrants?
  1. Is it useful to call Indonesian domestic migrants a class, or – in the words of Johan Lindquist – part of the Indonesian “underclass”? Why (not)?
  1. What is meant with the concept of “everyday life”? How does it differ from other approaches, within anthropology and other disciplines? Do you find the concept useful as an analytical category? Why (not)?

Methods

  1. What information does RtF provide about the lives and positions of internal migrants? How does this information differ from other (oral or textual) types of information, as provided, for example, in policy reports or (written) ethnographic descriptions? What are the limitations of verbal/textual and visual sources?
  1. What can visual sources – and the rich information it contains about dress, built environment, the use of (public or private) space, material objects, and body language – tell us about the expression, salience or relative (in)visibility of class?
  1. What can a resource like RtF tell us about processes of place-making, in Indonesia and elsewhere? More generally, what do you think visual images can tell us about the social relations and meanings involved in the imagination, demarcation, or “making” of particular places (a neighborhood, a village, a house or compound, a harbor, a marketplace, shop or a restaurant, and so forth)?
  1. What are the various levels of mediation in RtF? In your opinion, how should a scholar working with this (or similar) material in order to engage in scholarly analysis, deal with its mediated nature?
  1. RtF – and related projects like the British Mass Observation project (see below) – seek to record or register aspects of human life that are generally seen as self-evident or “ordinary,” and thereby (apparently) unimportant. Can you think of aspects in your own society, that are so ordinary that no one every seems to record it or give it much thought? Would it be worth your or anyone’s while to film or write about it? What if it is forgotten? Would this be bad? Why (not)?
  1. Technology is changing fast. Around the world, many or most people have a mobile phone with a built-in camera and an internet connection. How should this affect longitudinal projects like RtF? Is it still necessary to make these systematized recordings? Is a resource like RtF gradually replaced or made unnecessary by online video archives like Youtube? Why (not)?
  1. What role does sound play in an audiovisual archive like RtF? In the videos, what kind of sounds do you hear? Would it be useful to focus the analysis on sounds, rather than images? What kind of questions might be asked?

Modes of representation

  1. What are the advantages of combining text and image in scholarly analysis? Should there be a hierarchy, or not? How can text engage with image and the other way around? Does it require a particular “writing” style? Does it require particular tools?

Additional information about Recording the Future, sources of inspiration and possible comparisons

For more information about Recording the Future and its various products, see the project website, and this essay by project coordinators Henk Schulte Nordholt and Fridus Steijlen. For more clips from the archive, see the RtF Youtube channel.

Important sources of inspiration for RtF, also useful for discussion in class, are Mass Observation (1937-present, currently housed by the University of Sussex) and Michael Apted’s UP Series (see, among others, this useful debate in Ethnography), with the main difference that RtF follows places rather than people. Recording the Future can also be contextualized in a more recent trend of sensory ethnography projects; See a brief discussion here.

Additional products and related questions

The film “Don’t forget to remember me” (Fridus Steijlen and Henk Schulte Nordholt, 2008) features “a day in the life of Indonesia.”

Questions:

  1. According to one reviewer, the choice on the part of the directors to minimize (textual) context and let the images speak for themselves is both a strength and “a major weakness”? What is your opinion?
  2. This film has been used on multiple occasions for educational purposes, evoking radically different responses. Some viewers appreciated it for its insights and critical approach. Others judged it as “neocolonial.” How can we explain these divergent assessments? What elements in the film might account for these respective judgments?
  3. How does this film compare to Ridley’s Scott/Youtube’s “Life in a Day”?

The documentary “Being prominent in Indonesia,” (Ahmad Baihaki and Fridus Steijlen, 2011) is a portrait of Ibu Mooryati Soedibyo, an influential Indonesian business woman and politician. As, generally speaking, RtF is biased toward the lives of less affluent people, this film shows another, less prominent side of the archive.

Questions:

  1. The article “Living in a Makeshift World” looks at the vocabulary of makeshift, as embedded in senses of transience, improvisation and future dreams and aspiration. How does Ibu Mooryati’s choice of words compare to this? Does it communicate a different kind of temporality?
  2. What kind of spaces does Ibu Mooryati inhabit or use? How are these spaces connected and/or separated from the public spaced inhabited by less affluent people? What information does RtF provide with regard to the (possible) physical interactions between different social classes in contemporary Indonesia?

The short film “A day in the life of a mall,” (Andy Fuller, 2011) makes use of (embedded) written citations in order to make an argument. What do you think of this method? Is this a good way to construct a (scholarly argument on the basis of these images? Why (not)?

Kate Hennessy

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July 27, 2016

VAR SUPPLEMENTS: Monique Scott on reframing anthropology exhibitions for contemporary audiences

July 27, 2016 | By | No Comments

Monique Scott from Visual Anthropology Review on Vimeo.

Monique Scott’s video interview about her review, “White Walls, ‘Black City’: Reflections on “Exhibition as Residency—Art, Anthropology, Collaboration” (VAR 30-2, Fall 2014), which discusses efforts to resuscitate the image of the anthropology exhibitions for contemporary audiences. Her review specifically considers the exhibition organized by Ethnographic Terminalia at the Arts Incubator in Washington Park, South Chicago, in 2013.

Kate Hennessy

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July 27, 2016

VAR SUPPLEMENTS: Jennifer Hubbert on the Iconicity and reappropriation of Tank Man

July 27, 2016 | By | No Comments

Jennifer Hubbert from Visual Anthropology Review on Vimeo.

Jennifer Hubbert’s video interview about her article “Appropriating Iconicity: Why Tank Man Still Matters” (VAR 30-2, Fall 2014), which explores the reappropriation of iconic photographs, examining what happens when the iconic “Tank Man” image is modified and repurposed to new political ends.

Aynur Kadir

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June 1, 2016

Ethiraj Gabriel Dattatreyan on Self-Fashioning and Collaborative Ethnography in the Digital Age

June 1, 2016 | By | No Comments

VAR SUPPLEMENTS 2016

VAR 31-2

Ethiraj Gabriel Dattatreyan on Self-Fashioning and Collaborative Ethnography in the Digital Age

VAR SUPPLEMENTS: Classroom Activities and Discussion Questions

Ethiraj Gabriel Dattatreyan’s “Waiting Subjects: Social media inspired self-portraits as gallery exhibition in Delhi, India” (VAR 31-2, Fall 2015) collaboratively curates an ‘accidental’ archive of digital image-making practices by young Somali refugees in India as the site where subjectivities are self-fashioned and ethnographic insights emerge.

Keywords: photography, ethnography, selfie, Somalia, Delhi, photovoice

 

Suggested study questions and activities

Designed for undergraduate and graduate students to address key methodological questions about collaboration and digital affordances.

 

Collaboration: Discussion and/or writing exercise (students spend 10 minutes writing a quick response to the following question).

  • What does collaboration mean to you? How does this concept fit with the ethos of ethnography? How has a collaborative or shared anthropology been imagined? Is ethnography already always collaborative by the nature of its engagement? If so, what does an explicitly shared or collaborative ethnography imply and entail?
  • How might digital technologies reinvigorate, and yet, complicate the possibility for creating collaborative ethnographic projects? What sorts of opportunities/challenges do digital infrastructures (social media, smart phones, digital audio-video technology) create with regard to collaborative ethnography?
  • In the VAR article, “Waiting Subjects,” how does the Dattatreyan utilize the social media inspired photographs of his participants as an ethnographic site?
  • What does the author argue are the limits of these photographs?

 

Shared Anthropology: Assigned film viewing, with discussion and/or writing exercise. Watch this video of Jean Rouch discussing the future of visual anthropology: https://www.youtube.com/watch?v=PvyXCpzpJJs

  • Jean Rouch was one of the pioneers of a shared anthropology that utilizes audio-visual technology. Why do you think he argues that the easily available, inexpensive digital video cameras in our moment aren’t ‘real’ cameras? How does this sentiment impact how we might imagine collaboration in the digital age? What do you think John Rouch would say about the author’s investments in the digital practices of his interlocutors in the field?

 

Social Media: Social media exercise. Read this short primer on “Why we are all digital anthropologists” by Olivia Bellas: http://www.cnn.com/2013/05/29/opinion/mystreet-digital-anthropology/ . Students use social media to find short videos or photographs shot by non-experts.

  • Following Bellas, what do you think of this idea that ‘everyone’ is now an anthropologist with the advent of digital technology?
  • Regarding the virtual artifacts collected from social media, are these objects ethnographic? Why or why not? What can we know from the objects you have retrieved? What remains unknown?

 

 

Additional readings:

Lassiter, Luke Eric (2005). Collaborative Ethnography, Public Anthropology. Current Anthropology 46 (1) pp. 83-106.

 

Boellstorff, Tom (2012) Rethinking Digital Anthropology in Heather A. Horst and Daniel Miller (eds.). Bloomsbury Press. http://www.socsci.uci.edu/~tboellst/bio/Rethinking.pdf

 

Pink Sarah, Horst, Heather, Postill, John, Hjorth, Larissa, Lewis, Tania, Tacchi, Joe (2015) Digital Ethnography, Principles and Practice. Introduction. https://www.academia.edu/18841210/Ethnography_in_a_Digital_World

 

Aynur Kadir

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May 27, 2016

Zoe Bray on “Anthropology with a Paintbrush”

May 27, 2016 | By | No Comments

Zoe Bray on “Anthropology with a Paintbrush”

VAR SUPPLEMENTS: Classroom Activities and Discussion Questions

Zoe Bray’s “Anthropology with a Paintbrush: Naturalist-Realist Painting as ‘Thick Description‘” (VAR 31-2, Fall 2015) advances the practice of naturalist-realist portrait-painting as an under-explored method and medium of visual anthropology where slow-paced observations and interaction provide opportunities for making “thick descriptions” on canvas.

Suggested study exercises and questions

  1. Exercise: Take a drawing tool (charcoal, pencil, crayon, or paintbrush..) and paper, and spend about 20 minutes drawing an object of your choice in front of you (this could be simply a cup or a book. Ideally place it in natural light, rather than under artificial lighting. Sit or stand a meter or so away from it – i.e. Not too close and not too far away. Take breaks from time to time). Reflect on this process of visually studying an object.

How has drawing helped you to understand this object? Did taking breaks help you to see better? What effect did standing closer or further away from the object have?

  1. Repeat the exercise, this time spending a little more time, and drawing another person who is willing to sit for you. It can be a friend or a fellow-student you do not know so well.

What happened during the drawing session? Did you chat? What did you pay attention to? How do you feel drawing helped you to see the person? What new knowledge about the person do you feel you got from drawing her or him? Do you feel you know the person better in some way or other?

  1. Hold a mirror to the side of your face and look into it with the eye closest to it. In the mirror’s reflection you can look at your drawing in reverse.

What can you see in your drawing that you didn’t see before? What do you think of your drawn interpretation of the model? How do you think it could be improved?

  1. Look at videos of different artists drawing or painting other individuals live (or better still: observe artists in action!) Two videos of the author Zoe Bray portrait-painting live: https://www.youtube.com/watch?v=TtI0ia13QgI —and— https://www.youtube.com/watch?v=y_ZnO2Njnz8 .

Think about how the artists see what they see, and what they choose to depict. What do you think they are looking out for? How do you think they are transferring this knowledge onto the paper/canvas? What can you speculate about these artists’ particular individual sensibility, and the role that technical skill plays in their way of depicting?

  1. Sit for someone else.

Think about how the person drawing you is looking at you. How does it feel to be represented? What do you think about the drawing done of you? What do you think the artist/student has ‘captured’ of you? Why? Does having sat for someone else help you in your own drawing? How?

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