truth and lies_reading photo.pdf
TRANSCRIPT
7/27/2019 Truth and Lies_Reading Photo.pdf
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t:
;li ltrr.,
_i.ll'rrrttl
illtrlttll)
:itlrr rtfi,r
ilirrrral,;t
Ithil;riif
:fi,':
-
I
^"-
fri
t#isry
7/27/2019 Truth and Lies_Reading Photo.pdf
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The 1999
sc
ence
fiction
fi
m
lhe
Malrlx
(d
rected
by
Andy
and Larry Wachowsk
)
proposed
a dystopian future in wh ch
lur"r
be rgc J
e
o- r
ed Lo d
pd)c
.e
fe funct
oning as
'baiteries'
for
nte lgent
machines; humans
are
pLugged
into
a
computer
progran'rme
that
simu ates
rea
ity and
aTe ufalvare
of
the
tr e
nature
of the r existence
As
["4orpheus,
leader
ol
a
group
who
had escaped the lvlatrix,
asks: t4lhat is real? Haw
da
yau
deline
'real?
lf
Vau
are talking
about what
you
can
feel, what
yau
can smell what
you
can
taste
and see, then'real' is simply
electrical signals interpreted
by
yaur
brain
The
Matixis
of couTse, fict
on and rro
o|e
-
IlF)
rooe-oot-oi
toI
i1"
"g
ott
-
v./i
.-
Neverthe
ess,
there
is
some sense
irl
[,4orpheus
s
observation:
our
grasp
on
'^dl
/
t<
oe.6.^t
r6d
b1
o_r
porr^p
o-,
To
be sure there
are facts on wh
ch
we
can a I agree
and wh ch
are by
definit on
ndependent
of our ind v
dua
percept
onsi
we
can
broad
y
agree
on
what someth ng
ooks lke albe t
under specific
cond
tlons
lowever
appearances
can
be decept ve.
As
djscussed,
in
the
prev
ous chapter, what
th ngs mean,
is subject to interpretat
on.
[,4eanings
are not
on
y
shaped
by
the
funct oning
of our
perceptual
apparatus
(the processing of sense
data
nto
electrica
signa s in our
brain), but also
by the
ideo og
cal framework
and be iefs which
determ ne our
point
of view. Photographs
are
part
cularly
problematic
in
th s
respect
we
can
be seduced inlo
bel
ev
ng
that a faithfu
record of appearances
is actua
ly a
's
ice of
rea ity'. That
real sm rs
the same as rea ity.
i.)
Titler Keanu Reeves
and Hugo
Weaving in
'The
Matrix',
1999
Source:
Warner Broihers
The rea ism
of The L4atrix
te
es
Lrpon the
a djence s
suspens
on
of
d
sbe ef
n the
lace
oi
ayers
of
LJnrea
ty C nernatrc
specia
effects show
us
the
lus
on of
humans I
ying
wh
ch s exp ained
as a f ct ona representat
on of
\]
rtua
rea ty
experenced
n
the I ctiona wor
d of the f
lm
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71
A
point
of
view
Laak at it my way Do
you
see
what
I
mean?
[,4elaphors
of
see
ng and
look
ng
are
ntrins
c to
our
conceptua izat on
of
understand
ng
Curious
y.
ihey
emphas ze
both the subjective
(in
my
v/ew/)
and the
apparently olrlect ve statement of revelat on
(row
iseel
Alow
/
undersland). The camera
emllod es both
aspects every
photograph
s by defin
t on a
po
nt
of
v
ew, an angle
of vision and a moment se ected by the
photographer.
At
the
same
time the
resulting
p
ctlfe
can be seen
as
object
ve
proof
ol the scene wltnessed its lruthlu ness
apparently ndependent
of the
photographer
The
va ue of
photojourna
sm
and
do rn.
'"
,
pao
og
apr
\
d^pp
o
.
upof oui faith
n the oblect vity
of the
photographer
and the
ev
deft
ary status of
the
photograph
ndeed, every day we
ook
ai
p
ctures informing
us
about the world and
broadly
accept
them as rrefutable
evidence
of events and
phenomena.
The
fact
that we
know
that
photographs
can
be
tampered
w th and be used to
tel
ies
on
y
re
nforces
our
gefeTal
la
th
n
the essent al lruihlu ness
of
photography:
if we earn that
a
documentary'
photograph
has
been
altered,
then we
fee
cheated we
feel
manipulated
Piclures
that
purport
to te
lthe
truth
about
events
aTe
subject to
cons
derable ethica
and
phi
osoph
ca conslderatlons.
,1.2
What
is
real
?
o-o
o
o
o
6dl
r
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iiiizz
what is
'reat'?
The camera never lies
The
Vietnam
War
(1954
1975) has been
described as the
'med
a'war: images
of it were beamed
into homes
across
Amer
ca and
Europe, and
publlshed
in magaz nes and newspapers.
lt has
become commonp ace to
c a
m that
the course of
the war was materia
ly
affected by the disseminatlon
of mages
because
the truih that they revea ed
gave
the lie to the off c al stor
es.
On 1 February 1968,
Eddie Adams was
in a street in Saigon
(Vletnam)
and
he
saw General
Nguy6n Ngoc Loan ralse hls
pjsto
to the
head
of a
Vjetcong
prisoner
as Loan
pu
led
the
tr
gger,
Adams
pressed
the shutter on
h
s camera and
produced
one
of
the most icon c irfages, not
iust
of
ihe
war,
but
of
the twentieth
ceniury.
The
p
cture
was
and rema ns,
profoundly
shocking.
lt is shocking because of the
brute fact il so stark
y
shows. The camera
has object
ve
y
recorded a rea
event,
a human execution.
The fact
that the
sp
it
second
exposure
(1/50Oth
second)
Jreezes
what no human
eye
could
actualy
perce
ve does not d
mlnish
ts
trLrthfulness
-
f anything, t cements
t. There
can be
no doubting
what happened. Adams
won a Pu itzer
Pr ze for the
picture.
But what can
\r'/e :::, .
mage? What s c=-
-:-
man on
the leli a':^= :
gun
at
the head
:':-=
seems,
from the :.
:
:
-
the man on
the
I
-:
:-
been
fired.
Those
a-:
:
eloquenlly of
ma.
:
-
-
But the
picture
b'. :::
'
the
circr..rmsiafc::
,'
:
execution
thoLrJ-
:-=
to conclLrs ons
s,.
-:::-
Li
Title:
General Nguy6n
Ngo
executing Viet Cong
prisor
Nguy6n V6n L6m, Saigon
February,1968
Photographer:
Edd e
::"-
Of
the
nany tlroJs:_:,
pholographs
mac.
:-
:
--
course of the V eir.-
l
th s is one of a
1a-:-- ::
_:
acqu
red
lastng
s
Q-'
. ::
apparently
cas a
a',
:.
:
executlon terna
ns
:.
-_:
now as t appeara:
_
::
:
'[Loan]
prrs
-
,-
:
of
my
mel :-
-]
It
was
a
vu'a'
nice,
llut
-
=
mlght
ha,i: ,: ,-
fLoan'sl
ife
a-:
e se
gr:::
to hurt
pec:
= =
lntention
oe-l:
Eddie Adams,
photograpr
,-r"f
t
itr
{'
."., I
-
,.it I
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But
what can
we actualy
read
from
the
mage?
What
s denoted
ls very
plalnithe
man
on
the
left
of the
p
cture
points
a
gun
at the
head
of the
man
on
the
I
ght;
it
seems,
from the
expressiof
on
the face
of
the man of
the r
ght,
that the
bu
let has
just
been
fired
Those
are the facts
they speak
e
oquent
y
of man's
inhuman
ty
to rnan.
But
the
picture
by itse f
tel s us I tt e about
ihe
c rcumstances
of,
and reasons for
this
a
6
.,o't
ougl
-nl3
.
ewal
^
ar
I
."rp
to conc us
ons sympathetic
to the victim.
Title:
General
Nguy6n Ngoc
Loan
execuling
Viet
Cong
prisoner,
Nguy6n V;n
L6m,
Saigon,
1
February,1968
Photographel
Eddie Adams
Ol lhe
rnany
thoLrsands
of
photographs.iade
dLr ring the
course
ol
the
vielnam
war.
thrs
s
one of a handfLtito have
acquired ast rg
s
gn
I
cance
The
apparent
y
casua
bruta ity
of this
execution rema
ns as shock
ng
now
as l
appeared n 1968
'l[oan]
puts
his
psto
n hs holster
il
Truth
and
interpretation
n
a
fllmed
interview
(,4n
Llnlikely
Weapan,
directed
by
Susan l\,4organ
Cooper,2008),
Edd e
Adams
ta
ked
about
his
photograph:
1,la
about
ft/a
teel
dAa\
ltam
ne
U$anel
and ta
my
left
Ihis
guy,
I had na idea
[wha
he wasl,
went
over and
lcauld
see him
ga
for
his
pistal.
. I taak
ane frame:
that was
the instant
that
he
shat him
. I didn't
even
knaw lgal
him
shaoting
him. when
I see
the
picture
/ was
not impressed
.
jt's
nal
a
great
work
af an
in
lerms
af
photography
the
light wasn
I
right
composlllon
was
lerrible
.. I
still
dan t understand
why
it
was
so important
Adams was
do ng
his
job:
making
pictures.
A
p
cture
such
as th
s
comes
allout
through
"
o'rbtdlior
o o
o'^
^o-d
o.pe'
e^.e
instinctive
teactlon
and lL"lck
As
Adams
said,
he
d
dn't
know
what
he had
caught
n
that
split second
exposure
nor
d
d he
understand
the
sign
f cance
of the
picture,
the
mean
ngs it
would
be
given
and
the effects
it would
have.
It s on
y
by conextualiz
ng
the image,
bringtng
nformatlon
to
t
that the
v ewer
can
properly
read and
nterpret
it.
What
the v ewer
cannot
read from
the
p
cture is
the context.
he
said,
"he
k
ed many
of
my men
and many
of
your
people"
and
llst
kept
walking
It
was a
war
I
had
seen so many
p)eop
e
d
e
t's not
n
ce,
but
he shot
him
he
was a
prrsoner,
and
he
shoi
h
m
might
have
done
the same thing
The
p
ctlre
destroyed
l[oans]
life
and that's what
bothers
n.re
more
than
anyth
ng
else
guess
the
pictlre
d
d
good
th ngs
blt
dof't waft
to hurt
peop
e either
rt
rea
y
bothers
me,
tl.tat's not
my
ftent
on
be
ng
a
photographer
that's not
what
I
want
to do
Eddie Adams,
photographer
whatis.real.?
D
oo i.io
.o.p.
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74
Representation
and reality
But
for
Adams
p
cture
(and
the
newsreel
of the
sar.te
incideirt),
the
execut
on of
\o t.^,
\".1
-^-r
b, GF'6
o, Nor
r6.
Ngoc
Loan wou
cl
be an
unconsiderecl
now
Jorgotten,
routine
fc
dent
of war;
an anonymous
statist
c in
the
mi lons
of
deaths
However
the representat
on
of ihe
incident
has
endowed
t with
sign ficance
ln
a lectLlre
exam
ning representation
and
the
med
a
Professor
Stuart
Ha
I argues
lhal
the
mearting
af an
event
does
nat
exist
until it
has
been
represerled.
the
process ol
represe
ntatlan
enters inta
everts
lhemse/yes.
Represertatlon
is
constltutlye
of
eyenls.
Io'd,.r.tt -
pLol
".01
o'^od.tr
picture
had an
effect
not
only
or
ihe
persona
ife
of
General
Loan
but also
on
the
weighi
of
publ
c opinion
about
e
war,
and
consequentiy
on
ts
course,
th
s
wou
d
seem
io
be true.
The
mean
ngs
ol the event
(beyord
that for the
fdlv
duals
concerneLl)
arise
dtrect
y
from
rts
representation
ir
the
photograph.
Given
this
potentia,
there
ts
a ciear
ethica
responsib
lty
on
the
part
of
the
photojourna
ist or
clocumentarV
photographeri if their pictures
purport
to
r^
ord
a.
o oi- l .n
d.-
-.o.1_.
o
.
Lttr-tg
around
the world,
we
need
to be
able
to
,.
5d
In^ pt'
t^.'tO\\
d td'
d- \
possrb
e what
we
wou
d
have
seen
hacl
we
stood in
the
shoes
of
the
photographer
The
picture
that
most
moves
is one
which
persuades
us
that
t is a
neutra.
d
s
nterested
observat
on; the
photographer
may
be
moved
bui the mechan
ca
eye
of
the
camera
s taken
to
be
ndifferent
Lo
lr
-.
6na
d
o o
dr-.
lt_e
l.lowever
the recogn
t on
that
photographs
can be
so
powerfu
ls
an
open invitation
to
explo
t
the
r capaclty
to affect
the
v ewer
and
the
course
oi
events.
Toclay,
that
recognition
.-r
\^d
Otr rr
r,,tO'
media
irnages
s
effectively
a
peTfo
|ance
enacted
to lle
represenied.
This
can
rafge
lrom
the
devastat
ng
terrot
st
act;
to the
work
of
the spin
doctor
ensur
rg
that
thelr
chaige
is
wearing
the
right
c othes
and
s in
the right
company
to transm
t
the
desirecl
message
to the
pLtb
ici
through
to
the
humblest
famiy
photograph
'smi
e for
the
camera,.
The
photographer
who
appears
to
be
invisible
to their
subjects
who
catches
them apparent
y unawares (for example
Wa ker
Evans
subway
portraits
or Richarcl
B
I
ingham
s
pictures
of
h
s tamiy)
seems
to take
us
c oser
to rea
ity.
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75
Title:
London,
UK,26
lriarch
2011
Phoiographer:
1000
Words
n
most mages
oi currenl
-avents,
the
pfotographer
s nv
slb e
g
v ng th-. v
e\N,er ol the
phoiograph
the us on
of a
privieged
v
eyr
of
the act on By
rnc Lrd
ng the
pholographers
n
th s
picture
of
a
c
ash
beti,eef
prolesters
and
po
rce in London.
thal
lusoI
s
shatiered.
rcvea ng
the
photographers
as
pari
of the story
and not
mcaely
n,a tralobservers
.
\A/hal
s
rea
r'
Representation and
reality
Faclsandfcton
=
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Representation
and
reality
Realism and
illusion
Real sm s a surprising
y
tr cky terro.
Of
the
face of
t t
seeafs to
refer
straightfor\,,i ard
y
to
mages
that convincing
y
miiate
realty
It has been
a ong
stand
ng
assumpt
on
thai the
lob
of
art
was
to
do
just
that.
Arguab
y,
this
spans
from the
Greek
story
of
the competit on
between
Zeux s and
Pa[hasius
(the
former
pa]nted
grapes
so
rea
st
caly
that they foo ed
the
b rds;
the
atter
pa
nted a
curta
n
so
conv ncing
y
ihat t
fooled his
r va
)
lhrough
to the
nvention of
photography.
And,
indeed,
the
endur
ng fascinat
on and
usefulness
of
pholography
ies
pleclse y
in
its
(apparently)
laithf uL
recordinq of appearances.
However
Real
sm
a movement assoc ated
with nineteenih
century
pa
nters,
such
as
.r ,
p
,
o-rb-t
-
)r
illad
16
-r pl
d
from mere appearance
(which
could
be
rendered
conv
fc ng
y
even fol
who
ly idea
zed or
fantast
ca themes)
to
representing the
truth of exper ence
Courbet
made
paintings
(such
as A
Burial
at Ornans,1849)
which
depicted
ordinarv
peop
e
in everyday
clrcumstances
in
nformal
compos
t ons
(One
of the
nnovatlons of
Real
st
and lmpressionist
tr"i
i
qs
u"
]a
r
oP rol
-6
roPP
I o
o
tra
tl.
ge /r''L
1
\-
dr-
-
" d". c-
wh ch
sign
f es
spontane
ty and
rea ism.)
1.5
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77
Realism
and
reality
A further
complication
in
the
use
of the
term
'rea
ism'
s to emphaslze,
not
just
the
persuasiveness
of
the rea ity
of
the scene
represented,
but
the
reaiity
of
the medium
tself. While
ilusionism
has
been the stock
in trade
of
painters
through
the ages,
modernist
art tended
to draw
attention
to the
construction
of
the work
tself
the brush
marks
(lndexical
marks
of
the
presence
of the
pa
nter,
the
flatness
of
the support:
a surface
to be looked
at
rather
tha| af
lllus
onistic window
to
ook
through.
Part
of the
pecul
arity
of
photography
is
the
'transparency'
of
the medium:
the
mage
is
inseparable
from
the surface
(whether
viewed
as a
projection
of
ight
or
a
print),
making
the il
usionism
of
photography
as a window
onto
reality very
compel ing.
There
is no
material trace
or ev
dence of
the
photographer.
ln
purely
convent onal
terms,
such a
trace wou
d
generally
be
regarded
as
signifying'bad'
photography
-
the finger
in
front
of the
ens,
out of
focus
subjects,
over exposure,
off-kjlter
composition
-
draw
ng
attent on to
the
process.
On the
other hand,
these could
be
read
as
sign fy ng
a raw authenticity,
honesty
and awareness
of
the
p
cture
as
a
'real'
thing itse
f,
a
part
of the rea
world.
l5
Title: Reflections,
2012
Photographer:
Joanna
Casey
The
photograph
as
a window
onto rea
ty' s
rnade
complcated
here by focus
fg
on
an
aciua
wlndow
lnstead
ol look
ng
at
reality,
the
window
here reflects
a mLr
ti ayered
co lage
ol
colours,
forms
and s
gns
W thin
the chaos
and
abslract
on, a womans
face
looks
ca
m
y
out
at
the viewer.
I
What rs
'real'?
I Representation
and reatity
I Facts and
liction
:
7/27/2019 Truth and Lies_Reading Photo.pdf
http://slidepdf.com/reader/full/truth-and-liesreading-photopdf 10/25
Represenlation
and
reality
Real
pictures
New
York
at the turn ol the twent eth century
1o\ Ora
O
lf
F
O, o.^JOeO
pld
a
i-
'he
uor
d.
Viq
dtior'."
trad
o
0.".
r
1907
when
rnore
than
a mi
lon
mmigrants
passed
lhrough
E
ls sland and into New
York Whatever expeclations
ihe
mmigrants
had,
the
rea
ity
for
many was, n
t
a ly at east
poverty
and squalor. Jacob
R
is, h mse f
an dmigrd
f
rom
Denmark,
who
a[
ved
n
1870, was
appa ed by
the slum
cond
t
ons
in which
so
many mmigrants lved.
R is
worked
n t a ly as
lournal
st but llecame
determined to campa
gn
for the reforrn of
-5o
.no
otd
o'.o'rr. o' o\.
tg
photographs
to lustraie h s art
c
es and
book, How the Other
Half L/yes
(1890).
Ri
s
professed
iltle ntetest
n the
'art
of
P*o
og dpl
,
o i'
le.q
r'
dr
I
a o..
however, he was
a
p
oneer n the
use
of
flash
ight. le and
his
associates
wou d enter dark rooms at
night
ign
te
a
magnes um f are, and capture
mages
of
the
unsuspecting
occupants
By
profess
ona
standards h
s
piciures
were
pretty
rough
(not
to mention the eth cs of his
approach
);
but, arguably, this
perfect y
su
ted the
sublect
matter:
'bad
photographs
expressed
the bad
cond
t
ons. ln
short,
R
ls was
nst
nctivelv
practising
a
form ol rea
sr0.
i.a
Title:
Five Cents Lodging,
Bayard
Street,
c.1889
Photographer:.lacob
R s
R
s
p
oneered
the lse
ot f ash
io
tera
y
I
u
nate
the darker corners
of the s urns ol New York Wheiher
h s slbjects
rere
were actua
y
taken
by sLrrpr se or
prepared
for
the
event
s
not abso ule
y
c
ear
H s eth .s rnay
be
qlest
oned.
blt
h
s methods
\,yere
c
ear
y
eflect ve
lr
Title: Dachau,2012
Photographer
Matt Frederick
A
contemporary
photograph
ob ous
y,
cannot sho\,\r
anyth ng
of
the hofior assoc atel w
th DacftaLl
cofcentrat
on carr)p belween
1933
afd 1945
Hor,.rever,
the
forma
comoosit on and tone
of
Freder
ck s
photograph
coaveys
a
q iet
dign
ty
\",'hlch
moving
y
respeds
tre
rremory
of ihe
rn
ons
of
v
ctims
ol
Naz s rl
7/27/2019 Truth and Lies_Reading Photo.pdf
http://slidepdf.com/reader/full/truth-and-liesreading-photopdf 11/25
Form and
content
The
re ationsh
p
of form
to content s
a
fundamental
aesthetic issue for a
I
image
makers.
On
the one
hand.
the
mmacu
ate
and'beautiflr' image
of tragedy and
suffer
ng
may
seem inappropriate
and
even offens
ve
on the other hand the
.ig'
's
s'
.--L'.a
\
d'ro
^
^
ed a^y
can be simu ated
and seem
fa se.
79
Robert
Frank's
p
ctures
pub
ished
as
The
Americans
(1958),
were
made when
he secured
a
grant
to
photograph
al
I
cLa
of
"o,
-t
,
i
Lnp
-iti"t
I
r^r.
was rece
ved
negat ve
y
by some wh
e
others
saw
that
he
was 'rough ng
up
a
med
um that had become
too retined
and
sta
d, add ng rea ism.
Garry W nogrand
gave
his
street
pictures
a trademark
t lt,
which
connoted
dynam sm
and freshness.
Nowever
what begins
as sty
ist
c nnovat
on
can soon become
cl chdd
and mitative
Stye
matters
-
t
shapes
how
a
photograph
is
read.
Wfrat
s
rea
?
Representation
and
reality
Facts
and fiai on
-
7/27/2019 Truth and Lies_Reading Photo.pdf
http://slidepdf.com/reader/full/truth-and-liesreading-photopdf 12/25
ao
Facts and
fiction
The writer A.D. Co
eman
has
argued
Ihal
all
phatagraphs
are fictlons,
to
a far
grealer
extenl
than
we
are
Ve[
able ar willing
to
acknorv/edge.
[,4ost
photographs
however, d sgu se
the
degree to which they
are
constructed
by
means of ihe r ilus on of transparency.
The
discusslon
so far has
emphasized
the
quest
ons ar s ng from the
perce
ved
truthfu
ness
of
photography;
but
as
should
be apparent that
is
on
y
one slde
of
the
story. To
be
sure,
a
preoccupat
on
with
truthfulness
has
been dominant
through
much
of
the
h
story of
the medlumi but
there
has
lreen an
equa ly
ong standing
engagement
w
th the
construCtion of
fict ona
scenar
os,
of
exp oit ng
the
p
ctor al creat v
ty and freedom
enloyed
by
pa
nters. The reaLism mplcit n
the
medium
g
ves an
extra
edge
to
the
resu t ng
p
ctures even
though the
v
ewer
may
bo
pe'^,
1, a^/drr,
5dt
tl
-
".6ndrio
a
stage
set
peop ed
by
perlormers
for
the
purpose
of
making the
photographl
the rea ism can be very seductive.
This
approach
s
perhaps
most
obv
ous
and fami
iar
I advert s
ng and
fash
on
photography
where the viewer
understands
the'game
and
takes
pleasure
n
the
fantasy
and
glamour
connoied.
The
game
can,
however be
qu
te
soph
siicated where
for
example,
to counter a
potent
al
pa
Ing of
drt
f
,
dl
g
dro l .
d
'grL'lga
d6 th6l L( r'lg
dFrp
-
lo or o.. old/o d
rt,'
oro
^.
i'rg
can mpart an
iron c
g
amour and
reallsm.
The
fictiona mode of
photographv
can be
exp
ored
through construct
on
and
man
pu
ation
-
both approaches
are as
o
d
as
the
med
um
itse
f.
1.8
Title: Fashion
shoot at
the
John
Lautner
House,
Los Angeles, US,2011
Photographer: Christopher
The
mode swims iLr ly
dressedi
the
ocat on
is the
pool
of
a
g
amorous and futur stic house
n
Ca fornia
The
gorgeous
colour and abstract
patterns
of the water override concerns
about
pract
calty
and comfori.
7/27/2019 Truth and Lies_Reading Photo.pdf
http://slidepdf.com/reader/full/truth-and-liesreading-photopdf 13/25
The
constructed
image
Hippo
yte
Bayard
was
ofe of the
pioneers
of
photography.
n
1839 he invented
a
d rect
paper positive process
and exhib ted
work
pr
or
to the
pub
ic announcement
of the
daguerreotype
processi polt
cs
iO,r^.-.
o, o.aO-O
o."
j
1l.d
farne that
accrued to
Daguerre. ln
1840,
Bayard
produced
Self-Partrait
as a
Drcwned Man. nscr b-od as fol ows:
Ihe corpse which
yau
see here is lhat
af
M Bayard.
invenlar af
the
process
lhal
has
/ust
beer showr ta
yau
.The Gavernment
which
has
been only taa
gererous
fo
Mansieur
Daguerre has
said
it
can da
nathing
far Monsieur Bayard,
and
the
paor
wretch
has drawned
himself .
He
has
been at
the
morgue far
several days. as
you
can abserve,
the face and hands
af
the
genlleman
are beginning
to decay.
'l
Bayard
had not
d ed, but
he had
produced
the f
rst staged
photograph.
n
1858
lenry Peach
Robinson
exhib
tecl
Fading
Away
a
work that
exemp
if
ed
the
d scomfort
engendered
by
the staged
image.
The
p
cture
purports
to
show
a
young
woTnaf
dying
probably
from
tuberculos
s. lt
s constructed,
ho\\iever,
lrom f ve
separate
negaiives
and leatures
actors
As art histot
an
Stephen E senman
notes the
p
cture offended
some for
its
nde
cate
approach to
such a subjeci
and
others for
its
art f
c a ity, which
was seet
as
a vialatian af phatographic
authenticity.
i.
tlr
Title:
Fading
Away, 1858
Photographer:
Henry Peach
Roblnson
Rob nson
a
pa
nter t rned
pholographer
enloyed
cofs derab
e
sLr..-.ss
w th his P.torial
st
corrpos
t
ons lle skelched
oLt
the
pan
for hs
pLtLr-.s
shot
the sepa
ale e ements then
comb ned
the
negat
ves
(frvc,
n
th s case)
to
make a s ng
e
pr
nt
Representat
on and rea ty
Factsandfiction
Casestudv
IhomasHoeok-.r
7/27/2019 Truth and Lies_Reading Photo.pdf
http://slidepdf.com/reader/full/truth-and-liesreading-photopdf 14/25
a2 Facts and
fiction
The
directorial
mode
llenry
Peach Rob nsor.r s a
rf had
becf to
nrake
ari cut of
photography
lov/ever
h
s
approaih t0 construct ng
p
Litures
Liarfe to
ire
rf arg
na
z-.d
| -.ar
y
tvr'-.nt eth c-.nll]ly
Lihoi.graphlc
fash
on afd h story
uih ch
carre to favo r tfre sira
ght
photograph.
lowever.
as
A.D
Co
eflri]r has flraoe
al a,.r lhe dir-.ator
ir
mode mere
y
u/-cnt rdergro nc and re emetged
n
the 1970s notab
y
I the \'rork of
C
r,dy Shernran
afd,Jell
\"y'i,. .
n ihe t\, enty I rst centur ih-o rnod-o
has
rfoveal to
c-.ntro
stalle n lor
examp e
thc
\J,/ork
of
Thama:i
DemarLl
\,,, ho
cor-ctructs three d tnelrs ofa
moale s fOr
the purpose
cf
makrng
a phctograpn:
afd
Gregory
Crc\,,,dsoir who mp oys vrhat
antoLrnLs to
a 1 m cTe ,r
cast afd
sa]lipt
to
produce
s1i I
photographs.
TyD ca
\,.
such
mag-os
arc
ilrg-a
sca e alrd oxh ir tcd I
gi:r
-oli-os
th,o r
p
e:LSUres and []ean rgs
der v
ng
lror.r
the
r eqr voca
statLrs
\r'/
tfr
respeci to
ilholograLrir
Li tr tlr
t1:
7/27/2019 Truth and Lies_Reading Photo.pdf
http://slidepdf.com/reader/full/truth-and-liesreading-photopdf 15/25
-J
11
l:n
t. 11
Title:
Untitled
(Brief
EncounteD
Irom
the series
'Beneath
the
Roses'. 2OO3-2O07
Photographer:
Gregory Crewdson
Crewdson is
a d
rector of
s
ngle
frame
Tfov
es tfre
pictures
are
storyboarded, ocal ons
sec red
ghting
crews and
aclors
emp oyed.
Shoots
rnay
take ll
days
Crewdson ev-on employs a
camera
operator The images
are
ed
ted before being
pLrb
slred
as imiied
ed
t on
pr
nts
yrh
clr
may
be
up
lo seven leet wide.
Titler Dead Troops Talk
(a
vision
after
an
ambush oI a Red Army
patrol,
near llroqor,
Af
ghanistan,
winter 1986), 1992
Photographer: Jeff
Wa
I
Wa
shot
a ser
es of tab
eaux
s
ng
actors
n a
studio before
assemb
ng
the fina image
as
a
dgta
monlage Wal frequenlly
rnakes refereNce in h
s mages
to the lr story ol art. Here
the
macabre scene seerns
lo draw
on
a
oombination of
documenlary
phoLography
wilh horror
Tnov es.
The mage s exfr b ted as
a
huge
transpaaency na
ghtbox
I
R-.preseftat
on and rea ty Facts
and
fiction
Case
study
Thomas
Hoepker
7/27/2019 Truth and Lies_Reading Photo.pdf
http://slidepdf.com/reader/full/truth-and-liesreading-photopdf 16/25
Facts and fiction
:.1: b
,
G
1f,,6
.*
;
-r.-
"-:t
r-.
*.
'n;:-S
7/27/2019 Truth and Lies_Reading Photo.pdf
http://slidepdf.com/reader/full/truth-and-liesreading-photopdf 17/25
The
manipulated
image
The
advent
of d
gital
photography
has
rarsed
awareness
of
the
man
pulation
of magesi
however,
the
practice
of
maf
ipu
ation
is as
o
d
as
the med
um itself
It wou
d not
be unreasonable
to
argue
that
man
pulat
on
s to some degree,
an
unavoidab
e
part
of the
process
itself
lrom
fram ng
to cropping to
select ve
focus,
to
ightenlng,
darkening, saturating
colours,
to
pos
ng
re enacting
-
every
photograph
is a manipu
at
on of visua
material
to
produce
a
picture.
ndeed
one
could
reasonab y ask:
what would
an
ent rely
un-man
pulated
mage
ook lke?
85
Neverthe
ess, t
s
poss
ble
to
recogn
ze
thai
those
e ements
are understood
and taken
on trust;
of more
conceTn
is
when
mages
have
been
mod f ed
del
berately
to
m
s
ead
or
misinform.
Of
course
here
too
the
context
is cruc
a. The
'adjustment
of
the
relat
onsh
p
of
the
pyramlds
to f
t
more
comfortably
nto
t
^
g
dot
dp5
g^
ol
d
-rdga,/
-^.
o
e
^
of
^
".
v-
r
rrlle
on
aoL6^
p
Tl-6
n
6
g
-rg
of
two
separate
shots into
an'mproved'
0ne represent
ng
moments
in the
theatre
of war is
a together
more sens
tive.
-*-s
"
o.noo.r^
o^o-og.apr-
o, B
ar
Wa
sk,
one
n
which
he
comblned
rwo
s
mi
ar images
of
what
was actuai
y
recorded
by
the cameTa
nto
one
which
wh
le making
a
more eftective
compos
t on,
shows
a
scene
that
cou/d
have
happened,
but
was not
actually
w
tnessed
Because
such
a
picture
ex sts
to feed lnterpretation,
wh
ch in turn
informs
beliefs
w th
potentia
for
pollttcal
consequences,
thls
is a very
serious
matter
indeed.
Wa
sk
was
Sacked
front his newspaper
3.I). -3 1)a
Title:
Photographs
of
Voroshilov.
l\Iolotov
and
Slalin with.
and
without,
Nikolai Yezhov,
c.1937-194O
Photographer:
Unknown
The manipulal
on
of ihe ower
mage
rs
a
sinrster
ref
ecl on
o{
the
polt
ca
manipu
ation of rea
ty
Niko
a Yezhov
Comrn ssar of
WaterTransport
fel from
favour
and was
shot n 1940. lf
the
manrp laied
prcture
he s made
to
d
sappear
from
h
story.
'
Represeniation
and reaity
Facts
and fiction
Case
slLrdy Thomas
Hoepker
i
7/27/2019 Truth and Lies_Reading Photo.pdf
http://slidepdf.com/reader/full/truth-and-liesreading-photopdf 18/25
The manipulated
scene
A very
dltferent
example
of
manipu
ation
of
the scene
rather
than
the
image
-
was
uncharacteristlcally deployed by
Don
N,4cculljn
in
his
1968
photograph
Body
of
a
North
Welnan]ese
soldier'
Hue, Vielnam
ln
af
interview
with Colin
Jacobson,
N'4cCullin
recalled;
lhere
was a
kind
af insanily
in
the
atr there
had
been
day
after
day af
btoadleuing.
/
came
across
the
body
of
a
youno
\
ie,
aona
<aloet
Some
,4rnpltcdn
so/drers
were
abusing
him verbally
and
stea/ing his
things
as
souvenlrs
/l upset
me
-
lf
thls
man
was
brave
enough
Ia
fight
far
the
freedom
ot'
his
cauxlry,
he shou/d
have
respect
lpased
him
with
his
few
possesslons for
a
purpase,
far
a
reason'
ta make
a
stalemetl
. Ifelt
I
had
a kind
of
puritanical
abligatian
lo
glve
this
dead
man
a
vaice.
ln
the
s
ncere
effort
to
make
the
most
effective
phoiograph
-
how far
would
you
go?
Al
of
life
presents
ttself
as
an
lmmense
accurx lation
of
spectacLes.
EverYthing
that
was
directly
lved
has
rnoved
away
rnto
a
representaton'
Guy
Debord,
writer
and
theorist
113
Title:
Death
of a
loyalist
militiaman,
C6rdoba
front,
Spain,1936
Photographer:
Robert
CaPa
Capa
famous
y
said,
if
yo r
piciL.lres
aren
t
good
enough
YoLr're
nol
c ose
enough'.
Here
we wiiness,
at cLose
range
the
momeni of
a
so
diels
death
Picked
out bY a
sniper
s b let
A
andr.ark
P
cture
n
the
hislory ol
photojournalsm,
ii
has,
nevertheless,
been
dogged
by susprc
ons
that
t was
staged
l.1l
7/27/2019 Truth and Lies_Reading Photo.pdf
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Hyperreality
This
chapter
opened
wilh
the assurI]pt
on
thal we
know
the
differefce
betweef
llusion
artd realily
and, of
coursc. ln
q,-nerat
lertns
we do. However,
it has also
been argued
here
and
n
the
prev ous chapter.
that
rea
ily as exper
enced in
socia
terms
(w
th
respect
to bel efs and
'norma
behav our,
afd
the meanings we
g
ve
to olrlects) s
doodL
lof
d
g.agad
o.oga r
shoft represenlalions.
Th
s
t is
proposed
s a
perlect
y
natural
staie of affa
rs
However,
it
has
lleen
argued
by lor
example,
Guy
Debord n
lhe
Soc/ety of the Spectac/e
(1967)
that
oLrr
cu ture is so saturated by
images
-
on televrsrof n advertrsing, and
now
the
nternet
and that we
are so
mmeTsed
n consumeT
sm
that realty now
ex
s1s
pr
mariy n
terms of those mages and
the
des res and re ationsh
ps
they
s
gn
fy.
87
These
ldeas
have
been
fu(her
deve
oped
by
French
phi
osopher
Jean
Bauclr
lard
(1929
200l),
wlro is
associatecl
w
th
the
te
|s
simLrJalio.
and hvpetre.ttitv
tr BrLrd
Ia..:t.s
vjew,
the
signllters ol
meanjng
n
our cu ture
are
ncTeas ng
y
detached from
a
relerence
to
physica
realty
and
fstead
refer
to
other
slgnifiers
n an
end
ess
cha I
of
sign f
cat on.
This
dea s
perhaps
most
eas
y
underslood
n re ation
to brand ng:
a brand is mere
y
a
name
that
s
gnif
es
a set of assoc
ations with
ce
ellrity w
th
g
amour,
w
th siatus
w
th
images
which in turn
lend meantng
ancl
va
ue to
a commod ty wh
ch
may
otherw
se
be ndist
ngu shable
ftom a
ternat ve
products.
Thus,
a set
of meanings
values
and
even
dent
t
es (see
Chapter
4) may
be constructed
eniire
y
out
of
jmages.
We
ale nvited
to mode
our'real'se ves
upo|
Idg6
hd d6d
-
ltd
,t"
a
^
n
the
ha I
ol
m
irors
of
postmodern
cu ture,
we exper ence,
in Baudr lard's
wotds the
oss of the
real;
images
beget
mages
realty
is
an efdless
p
ay
of
s
gfif
ers.
:;
1J
Title: The
corner
shop,2011
Photographer
Alex
B
and
B an.ls
p
ciLIe
presenls
an
ef.ha
rted
scene a \r,/e sto.ke.l
shotr has mag
ca
y
mater a zed
n
/ood and
The
hype(ea
-.ffed
was
achi-.v-.d
by
pa
nstak ngly
mat.h
fg
o.ations
and i,oht fg
afd
ayer ng
nages
Soth shop
afd
wood
and
\|rere
shot
jLrsl
afler s nset
yr
th
the
\)r'ood and.l-.arino
caref
\,'
t tc s rnllalE ihe
effects of
hL
spi
rng
ironr
lhe
shop w ndows
3.rr
Representalon alral rea it,l Facts
and
fiction Case
stLraly
lhomas
Ho,.pk-.r
7/27/2019 Truth and Lies_Reading Photo.pdf
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i:i:.33
Facts and
fiction
'Real
lite':
street
photography
Rea fe
does,
of course
go
of Real
lfe
s on
the streets that
is
where
th ngs
happen. The h rfan story s a soc al one
't
d
l-
o.
Pld
lJ
b'i
P
b
spaces. From the
start
photographeis
were
dra\/n
lke
magnets
to
the
theatre
of the streei wh ch
provjdes
r ch
and
nexhaustib e subleci rnalter.
And ndeed, the sublect matter can
be
regarded
as be
ng
L.rnlquely
matched
to ihe rnedium. The appeal of streel
photography
s that t
gves
us a direct
(and
somelimes amus
rg
or voyerr st c)
ins
ght
nto the
rea
ives ol
rea
people
lts
cu[efcy
s spontane ty
afd
authent c ty
But
street
photography
a
so
preclse
y
exemp f es
the
ssues d scussed
I
thls
chapter
For examp e,
Robe(
Do
sneau's
'or0o
oogdp-o'd o
pl-.
igi
,
Paris street seems to capture
perfect
y
the
romarce
and
sponlare ty
ol
young
ove:
a couple
ost
n
each
otherand
bl ssfLrly
unaware of
passers-by
ard
the
photographel
who has snatched the monrent
Does t change
the
mpact ol the
p
cture
to lea r
that
1 s
posed?
lvlany have
been d sappo nted by lh
s
revelat
of
for
t
seems
to d m nish
ts truthfu fess
Do sneau c airned
to
have w
tnessed
ihe
coup e embrac
ng
but was too difl dent
to
phoiograph
them direct
y
and
so asked
them
to
repeat the r k ss for his
camera.
The key ssue
here is
context and
purpose
I
the
ntention
s to represent
af
dea
-
rl this case romafce
-
would
a su[ept]lioLrs and
possilr
y
techn ca ly
awkward shot
be superior
to a
control ed
and composed
picture
oi a
performance?
lf n
captur
ng an eveft,
a
momenl
the
dea shot ls m ssed or ludged s there a
profi
em in re
enaclmeft
for the
cameta?
Obvio s
y.
n nrany c
rcrmstarces
th s v,/ou d be h
ghly
lnappropr ate
Street
photographers
have emp oyed both
opef
and covert rnethods to
captL[e the
realty
oJ
the street: some me
I
nto the
background
(lenr
Cart er Bresson) and
a^r
odrdt6
,.itL
a-t
subjects
(D
ane Arbus); some
aggressive
y
push
ihe
r
car.reras nto lhe faces of
strangers
(Bruce
Gi
den)
wh le
some set
up cameTas
and
ghts
and wait for
peop
e
to enter the frame
(Ph
I
p
Lorca
d Corc a).
be
eve that street
photography
s
centra to the rssre of
photography
thal
it
s
prreV pholograph
c
whereas
.he other
genres,
such
as
andscape
and
portrart
piotography
are a ti c
i-nore
app ed, more
n'r
xed
I wlth the
ristory of
pa
rt rg and other
art
forr.rs'
Joel
Meyerowitz,
street
photographer
Title: Woman wa
k ng
Avenue, New York.
US
Photographer:
E--
-
.
G
ld-.
r
s stree:
:
..
s a lress
e
a- l
Workr' r:r':
-
:
:
,..,'trhsr rr:'.:,
p
LL res
fala:
'
fac s Thc r-.:-:.
,
.
o\",
er
j
1,,'e,iii
-::
:
rea
st c. arn.l
: . :
oi anE e
ar
.._
l
7/27/2019 Truth and Lies_Reading Photo.pdf
http://slidepdf.com/reader/full/truth-and-liesreading-photopdf 21/25
-
89
Title:Woman
walking
on
Filth
Avenue,
New
York,
US,1992
Photographer:
Eruce G
den
Giden
s
sireet
photography method
s
aqqress \re
and
coftrovers
a.
\,^/ork
nat ina.rowa
he
,r
(Lrr|
ra
th
hls
ca
eraan.l
fashLolake
pratLres
nch-.s
frol.]
strangers
laces The
res ts
are str
k
ng ariLl
Powerfu
y
erpreSs ve
at once
rca
st., and
p
ain
y
the
produ.t
aif ang e ensand
qhtnq
R.presentat
on
an.l
reaty
Factsandfiction
Casestudy Thcnras
l.ocLiker
7/27/2019 Truth and Lies_Reading Photo.pdf
http://slidepdf.com/reader/full/truth-and-liesreading-photopdf 22/25
.g0.:.:..:.Ca5estudi::Thotias.Hoepker1:i..:
Q_asc
stud:y
Thomas
(
Hoepker
ln
choosing New York as their
target, the
perpetrators
of the terrible events
of
11
September 2001
ensured that the appalling spectacle
ot two airliners
crashing into the
World
Trade
Center,
and ihe ensuing carnage, achieved
unprecedented
medla coverage. No
other city n the world could have
guaranteed
the immedlate attention
of more
photographers
and film
crews.
There can
be little
question
that
the cumulative evidence of thousands
of
photographs
taken
on
the
day add up to a
clear and
tragic
narrative of death
and
destruction, and
also
of
many
acts
of heroism.
l\,4any
photographs
have
acquired iconic status, functioning
both as dramatic documents of that
terrible event, and
as
powerful
symbols of a
community
responding
to attack.
What,
however, are we to make
of
Thomas
Hoepkeas
photograph,
young
people
on the Brooklyn waterfront,
September 11,
2001.
Before
reading on, note down
your
interpretation
of
the scene:
.
What is
denoted in the
picture?
State
precisely
what
information
the
picture
iiterally
presents.
.
What
does the scene tells
us about
ihe
people
represented?
What do
you
think they
make
of the scene they are witnessing?
'
Where
and what,
is
the truth
of
this
image?
The facts can
be stated
briefly:
five
people
are sitting in a sunny waterside
spot, with a view towards Manhattan
lsland where lhe
plume
of smoke
issuing from
the World Trade Center ls
clearly visible. This much can be
regarded
as
objective record.
Hoepker's cameia has caught the appearance
of the scene
truthfully.
The
people
appear relaxed, which,
given
the'context
gives
rise to an
uncomfortable
possibility
-
are they insensitive
to
the
tragedy
unfolding
before
them? As Hoepker, himself,
put
it Haw could this
group
of
coal
laoking
young
people
slt there so relaxed and seemingly
untouched
by the
mothet
of all
catastrophes unfolding in
the background?
7/27/2019 Truth and Lies_Reading Photo.pdf
http://slidepdf.com/reader/full/truth-and-liesreading-photopdf 23/25
91
.,]
rr:l
,'i].r:r
ij;
$ff
3.16
IlF
Titlei
Young
people
on the
Brooklyn
waterlront,
September
11,2001
Photographer:
Thomas Hoepker
Blt
for
the
thick
p
ume of smoke
n the
background, and the
knowledge of what th
s sign
fies,
the
scene appears,
as
Hoepker
has
comnrented,
almost
idylLc
One of
the
recurrenl
problems
n read ng
photographs
s to square apparently
object ve
vlsual
evidence
w
th sublective interpretat on
coloured
by assumpiions and
retrospective
knowledge
Facts
and Frction
.
Case
study: Thomas Hoepker
7/27/2019 Truth and Lies_Reading Photo.pdf
http://slidepdf.com/reader/full/truth-and-liesreading-photopdf 24/25
Hoepker
rejected
the image for
publication
in the immediate
aftermath
of
the
event,
because
it was too
'ambiguous
and
confusing'. When the
picture
did
surface,
nearly
five
years aJterwards, it
sparked
a
debate about its
interpretation. Hoepker
has
described
the making of
the
picture:
as
a
professional
photographer,
he was trying
to
make his way
to the scene of devastation
and
glimpsed,
en rcule, an
almost idyllic
scene ...
f/owers,
cypless trees, a
group
af
young
people
sitting
in the
bright sunshine
.. . while the dark, thick
plume
of
smoke
was
rising in the
background. lgot
out of the
car,
shot three frames
of
the
seemingly peaceful
setting and drave
an hastily.
As will
be the
case in much
documentary
photography,
he
djdn't speak
to the subjecis; he
didn't ask
about
their response to
the event and
he
didn't ask
permission
to
photograph
them.
The easy interpreiation
of
the
group
as
relaxed
and apparently
uncaring was
forcefully challenged
by Walter Sipser,
one
of
the group pictured.
He wrote:
A snapshot can make
mourners attending
a funeral look
like they're
having a
party.
Thomas Hoepker taok
a
photograph
of
my
gilfriend
and me sitting
and talking
with
strangets against
the backdrop
ot
Lhe
smoking ruin
ol
Lhe Warld kade
Center...
We
were in a
profound
state af
shock and
dlsbe/lef, like
evetyone else
we
encountered that
day...
[we
were]
in
the
middle
ol
an animated discussion
about what
had
just
happened.
The reality of the
momenl,
truthfully recorded
in the
phoiograph,
is that,
vjsible smoke
and
audible explosions
(being
indexical
signifiers denoting
fire and
destruction)
connoted
a
terrible accident
or attack,
along with
pain
and
suffering.
However,
this reality
amounts to
a bewildering
visual
phenomenon,
which is
yet
too raw
to
be
furnished
with explalatior
and
meaning:
the witnesses of the
event could
no
more
be expected to have
a
full
understanding
of
the reasons for what
they
are
seeing or what
its consequences will
be
than Hoepket
(or
the viewer
of
the
picture)
could
know
what
those witnesses were
saying or thinking.
It
was only in retrospect
that
a meaningful
account of
the
day could
be
pieced
together from evidence,
of
which
Hoepkefs
picture,
for all
its
amblgui'iy,
is
one tiny, but valuable,
piece.
7/27/2019 Truth and Lies_Reading Photo.pdf
http://slidepdf.com/reader/full/truth-and-liesreading-photopdf 25/25
Title:
Wortd
Trade
Center
attacked,
September
11, 2011
Photographeri
Spencer
platt
The
day
afler
the
attack
on
The
World
Trade
Center.
New
York the
world
s
media
was
dominated
by
p
ctures
lke
thisrthe
scale
and
horror
of
the event
s straightforward
y
represented
yet
the visual
image
is
drsturbrnq
V
rem
niscent
of a
scene
from
a
disaster
movie
Synopsis
This
case
study
has
used
semiotics
to
show
how
the,truthful,
representation
of
a scene
may,
nevertheless,
be
highly
ambiguous
and
open
to
potentially
misleading
interpretation.
.
The
truih
and
meaning
of
an
evert
cannot
necessari y
be
grasped
s
mp
y
through
the
act
of
seeing
t;
explafat
ons
come
later.
-
The
truth
of
a
photograph
les
if
show/ng
what
a
scene
lookeLl
lke.
at a
part
cu
ar ntoment.
from
a
particular
p
ace,
recorded
by
a
part
CUIaT
car|era
afd lers
.
The
nteipretat
on of
a
photograph
(as
of the
ev-.nt
it
represents)
s
subjecl
to
knowledge
and
assumpt/ons
which
are
externa
to the
image
tself
311
milt