Project 1: The Dynamic Image
Watch Fred Ritchin’s lecture, where he discusses several key aspects of the digitalisation of
photography, including his description of ‘photographs of the future’, at Link 1
Summary:
Fred Ritchin's lecture, "Bending the Frame," is an observation into the digital age's evolving landscape of photojournalism and documentary photography. He emphasises the need for a paradigm shift from traditional methods to more dynamic, interactive approaches that leverage digital technologies. Ritchin introduces the "meta photography" concept, where images are enriched with metadata, hyperlinks, and contextual information, transforming them into multifaceted narratives. He also discusses the rise of citizen journalism, highlighting how the accessibility of digital tools has democratised image-making and raised concerns about authenticity and ethical considerations. Throughout the lecture, Ritchin advocates for a more nuanced and responsible form of visual storytelling that informs, engages, and empowers audiences.
Project 2: Digitising Atrocity
Read the essay ‘Archive Noises’ in Fontcuberta, J. (2014) Pandora’s Camera – Photogr@phy after Photography, London: MACK, provided with your course materials.
In "Archive Noises," part of Pandora's Camera – Photogr@phy after Photography by Joan Fontcuberta, the essay delves into the relationship between photography, memory, and the archive. Fontcuberta, a key figure in conceptual photography, consistently challenges traditional notions of photographic truth. In this text, he focuses on the concept of the archive as both a repository of memory and a space where historical truth is often constructed, manipulated, and, at times, destroyed.
The Role of the Archive
Fontcuberta begins by outlining how archives function as custodians of collective memory, preserving photographs as historical evidence and cultural documents. Yet, he problematises the archive's role, suggesting and selecting for preservation or what is deemed significant enough to archive is often determined by subjective or political choices. This selection process can lead to distortions of history, as the act of archiving both preserves and eliminates certain narratives.
The Metaphor of 'Noise'
One of the essay's central metaphors is 'noise' within the archive. In the context of information theory, noise refers to the unwanted or disruptive elements in communication. Fontcuberta applies this concept to the photographic archive, proposing that noise can be anything from the gaps in historical documentation to the distortions introduced by time, technology, or human interference. For him, these 'noises' complicate the archival mission to reflect reality or historical continuity accurately. The archive is not just a neutral repository but a site where discrepancies, omissions, and inaccuracies accumulate.
Digital Photography and Its Impact
Fontcuberta also addresses how digital technology has transformed both the creation and preservation of images. The proliferation of digital photography means that archives have become inundated with vast amounts of visual data, making it increasingly difficult to filter meaningful content from the noise. Digital images can be easily manipulated, deleted, or altered, which challenges traditional ideas of photographic authenticity. Fontcuberta argues that this shift from physical to digital archives has made photography more transient and less stable as a record of truth.
The Erosion of Truth
Building on his examination of noise and the digital, Fontcuberta critiques the erosion of photography's claim to truth. He argues that photography, once trusted as a direct imprint of reality, is now recognised as a construct, open to manipulation and interpretation. Once thought to offer a stable, objective repository of knowledge, the archive is similarly compromised. He questions whether archives, in their contemporary form, can provide any reliable historical truth.
References and Cultural Touchpoints
Fontcuberta engages with a broad array of cultural references in his essay. He draws from the ideas of French philosopher Jacques Derrida, particularly Derrida's concept of the archiviolithic—the paradox within archives where preservation links to destruction. He also references Susan Sontag's thoughts on photography as an art form that frames and manipulates reality. These intellectual touchstones reinforce Fontcuberta's claim that photography and its archives are deeply flawed as conveyors of historical truth.
Conclusion:
In "Archive Noises," Fontcuberta invites readers to rethink their assumptions about archives, memory, and photography. By highlighting the subjective nature of archiving and the increasing 'noise' introduced by digital media, he calls into question the reliability of photographic evidence and historical memory. The essay is not a straightforward critique but a thoughtful meditation on the limits of visual documentation and the complexities of preservation in the digital age.
Project 3: Re-Thinking photojournalism 1. The Citizen Journalist
Read Allan, S. ‘Blurring Boundaries: Professional and Citizen Journalism in a Digital Age’
(pp.187–200) in Lister, M. (2013) The Photographic Image in Digital Culture, provided with
your course materials.
• Read Jose Navarro’s blog criticising the BBC’s use of images of the 2012 Denver cinema
shootings at Link 4
• Read this useful essay on the 7/7 bombings and citizen journalism at Link 5
Blurring Boundaries
Allan’s chapter, “Blurring Boundaries: Professional and Citizen Journalism in a Digital Age,” explores the evolving relationship between professional journalism and citizen journalism in the digital era. Allan highlights how the rise of digital technologies and participatory media platforms has transformed news production, dissemination, and consumption.
Citizen journalists, often equipped with smartphones and social media, contribute real-time coverage and alternative perspectives, challenging the traditional gatekeeping roles of professional journalists. While this democratisation of media production fosters diverse viewpoints and immediacy, it raises concerns about credibility, verification, and ethical standards.
Allan critically examines case studies of significant events, such as natural disasters and political uprisings, to demonstrate the collaborative potential and tensions between professionals and amateurs. He argues that the boundaries between the two are increasingly fluid, necessitating new frameworks for understanding journalistic authority and practice in the digital age.
Jose Navarro
Jose Navarro's blog criticises the BBC's use of images from the 2012 Denver cinema shootings, particularly highlighting ethical concerns surrounding the portrayal of such tragedies. He contends that the repeated use of graphic imagery risks exploiting victims' suffering for sensationalism rather than contributing meaningfully to the narrative or public understanding of the event. Navarro questions the balance between journalism's responsibility to inform and the need to respect human dignity.
One of his key points is the potentially desensitising effect of repeatedly showing violent imagery. He argues that Such images may undermine the tragedy's seriousness by turning it into a spectacle rather than a space for reflection or critical thought. He also raises concerns about how these portrayals impact victims and their families, who might be re-traumatised by the constant resurfacing of such images in the media.
Navarro's critique ultimately calls for greater editorial accountability. He advocates shifting towards context-driven reporting, where visual representation enhances understanding rather than exploiting grief. This raises important questions about ethical boundaries in visual journalism and challenges media organisations to consider the long-term societal effects of their editorial choices. His blog is a thought-provoking exploration of the responsibilities tied to the use of powerful yet painful imagery.
Conclusion:
I concur with many of his points, but we are living in a climate where the bombardment of media in all its forms will ultimately deteriorate more than recuperate.
7/7 Bombings and Citizen Journalism
The essay examines the significant role of camera phone images during the 2005 London bombings in shaping the news media’s coverage and public understanding of the events. It highlights how these images, captured by individuals directly affected, brought immediacy and authenticity to the reporting, challenging traditional media’s control over narrative and content. The piece also observes the shift toward citizen journalism, where ordinary people contribute to the news cycle in real time, raising questions about the reliability, ethics, and power dynamics in this emerging media landscape.
Conclusion:
More mobile devices and images are being taken now than ever before, which leads to the recording of more portraits, holiday images, and news events as they happen. The positives are that many events that would be missed are now available. The negative side is that it can also be used as a media-centric tool for misinformation, manipulation, and detriment to individuals involved within the medium. We have to be very mindful of these practices and look upon them with an amount of rationale.
Project 4: Re-Thinking photojournalism 2. 'Post-Photojournalism'
If you can access a copy, read the final section ‘Post Photojournalism’ (pp.225–69) in Post-
Photography by Robert Shore, London: Laurence King, 2014.
• Read Mark Durden’s essay ‘Documentary Pictorial: Luc Delahaye’s Taliban, 2001’ in Batchen,
G. et al (eds.) (2012) Picturing Atrocity: Photography in Crisis, London: Reaktion Books,
pp.241–48. You’ll find this on the student website (PH5DIC_Picturing Atrocity_Taliban).
• Watch Tim Hetherington’s documentary Restrepo which he made with Sebastian Junger
while embedded with US Marines in 2008 at one of the most dangerous outposts in
Afghanistan: Link 12
‘Post Photojournalism’ in Post-Photography by Robert Shore
I tried many book and second hand resellers in Western Australia and Amazon Australia but unfortunately I was unable to access a copy.
Mark Durden
Mark Durden’s essay “Documentary Pictorial: Luc Delahaye’s Taliban, 2001,” featured in Picturing Atrocity: Photography in Crisis(2012), explores the intersection of documentary photography and fine art through the lens of Luc Delahaye’s work. The essay focuses mainly on Delahaye’s photograph Taliban, 2001, which depicts the body of a Taliban fighter killed during the conflict in Afghanistan.
Durden examines how Delahaye’s photograph challenges traditional documentary practices by blending factual representation with a deliberate, aestheticised pictorial style. The composition and presentation of Taliban, 2001—a large-scale, meticulously detailed image—invite viewers to engage not only with the content but also with the form, raising questions about the ethics of aestheticising death and violence.
The essay situates Delahaye’s work within a broader history of war photography and the politics of representation, highlighting tensions between art and reportage. Acknowledging their power to provoke critical reflection, Durden critiques the potential for such images to exploit or depersonalise their subjects. He argues that Delahaye’s approach blurs the line between witnessing and aesthetic contemplation, emphasising the moral and emotional complexities of viewing and interpreting atrocity through photography.
Restrepo
Tim Hetherington's Restrepo offers a raw portrayal of life at one of the most dangerous outposts in Afghanistan, providing an unfiltered window into the lives of soldiers deployed in a combat zone. Restrepo avoids sensationalising war, focusing on the men of Battle Company stationed in the Korengal Valley, offering a candid and immersive look at the harsh realities of military life. In this essay, I will explore Hetherington's use of cinematography, the fly-on-the-wall production method, and the tragic lives of the soldiers, particularly those like Alice and those who lost their lives during the making of the film.
Cinematography and the Fly-On-The-Wall Approach
One of the most striking aspects of Restrepo is its cinematography. The film captures the objective reality of life on the frontlines without the usual backdrops of war films. The camera work is intimate and often unsettling, drawing viewers into the soldiers' world. Hetherington, alongside his co-director Sebastian Junger, employs a documentary style that immerses the audience in the soldiers' daily existence. The camera is never distant or detached; it is embedded with the soldiers, providing a direct, often uncomfortably close, perspective of their lives. The handheld cinematography amplifies the sense of immediacy, and the jittery, shaky shots evoke a feeling of instability and danger, mirroring the soldiers' experiences.
The film's fly-on-the-wall approach—where the filmmakers do not intervene or interrupt the soldiers' actions—creates an almost unparalleled sense of realism. This method allows the audience to witness the soldiers' unfiltered reactions and interactions, providing an honest portrayal of war that is often absent from more conventional narratives. The absence of voice-over narration or overt editorialising further emphasises the authenticity of the experience. No external voices are guiding the narrative; the soldiers themselves, through their conversations and actions, drive the story. This approach creates a raw, unembellished depiction of war that does not glorify or vilify the soldiers. Instead, it shows them simply as young men doing their jobs in an environment of constant danger.
However, this method is not without its challenges. The filmmakers' lack of intervention means that we, the audience, must piece together war's emotional and psychological weight, mainly from the soldiers' expressions and day-to-day routines. At times, this can leave us with more questions than answers, especially regarding the mental toll that combat takes on those involved. Yet this ambiguity mirrors the soldiers' struggles, providing a sobering reflection on their internal battles.
The Soldiers: Alice and the Fallen
One of the most profound elements of Restrepo is the way it humanises the soldiers, especially figures like 'Alice,' whose personal story stands out among the rest. Alice, a soldier who emerges as one of the more prominent figures in the documentary, represents the quiet resilience and vulnerability of soldiers who often remain anonymous in the public consciousness. His calm demeanour and straightforward attitude offer a window into the mind of someone constantly navigating between the mundane and the extreme. His portrayal speaks to the complexity of military service: the soldiers are not just warriors but individuals with distinct personalities, histories, and vulnerabilities.
However, Hetherington's film is also deeply tragic. The soldiers of Battle Company face the physical dangers of their environment and the emotional toll of losing comrades. The death of Sergeant First Class Kevin M. C. was a devastating blow to the unit and serves as a haunting reminder of the cost of war. The grief and shock experienced by the soldiers, captured in raw moments of reflection, speaks volumes about the fragility of life in combat.
For many soldiers, such experiences leave lasting scars. Restrepo does not shy away from the emotional and psychological trauma inflicted by such losses. The film does not offer easy answers or neatly tied-up narratives. Instead, it emphasises war's disorienting and often overwhelming nature, where friends become casualties, and survival becomes the primary focus.
The loss of soldiers, both during the production of Restrepo and within the documentary's narrative, emphasises the mission's ultimate price. Hetherington himself, tragically, would also lose his life in a subsequent assignment in Libya in 2011, highlighting the personal risks that documentarians and journalists take in seeking to tell stories like these. In this way, Restrepo becomes not just a reflection on the soldiers who fought in the Korengal Valley but a broader meditation on the lives lost in the pursuit of telling their stories.
Conclusion:
Tim Hetherington's Restrepo is a powerful and unflinching look at the brutal realities of war, capturing soldiers' lives with empathy, respect, and a deep sense of responsibility. The cinematography, through its use of handheld, immersive shots, draws the viewer into the chaos of combat, offering a perspective rarely seen in mainstream war films. While not without challenges, The fly-on-the-wall production method enhances the documentary's authenticity, allowing the soldiers to speak for themselves through their actions and words. In the lives of soldiers like Alice, we see not just the uniformity of military service but the complexity of individual experiences—moments of camaraderie, grief, and quiet heroism. Ultimately, Restrepo is not just a documentary about war but the humanity that endures within it and the lives that continue to be affected long after the cameras stop rolling.
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