Seeing Beauty Or Seeing Repression – Is It A Question Of Perspective?

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Federical Valabrega’s photo essay on the lives of Orthodox Jewish women in Brooklyn, New York that appeared on Time Lightbox reminded me of something I had read in Carol A. Brekenridge and Peter van der Veer’s excellent book Orientalism And The Post Colonial Predicament Details »

What Can’t Be Discussed Or How Photojournalism Disconnected Itself From Its Own Reality

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These are the discussions the photojournalism industry – from editors, to award winning photographers – refuse to engage in. I have already written about the many ways in which manipulated and doctored photography has been for the last some decades been a core part of photojournalism. I have argued that the competitions assiduously avoid speaking about this, and continue to waste time and energy on trivial issues of ‘digital image manipulation’. Somewhere along the line, photo editors, and photojournalists, have convinced themselves that their only, and exclusive, purview is what lies within the frame – the aesthetic of the image. So they endlessly discuss the style, the grammar, the technical facets of frame / image only, but nothing more. Nothing can touch on the lies, manipulations, and doctoring that goes on beyond the frame. Details »

On Things Shown And Those Hidden – The Travails Of World Press Photo

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What ails World Press Photo? Well, if you were to read the online comments, and the public statements being made by representatives and spokespersons of WPP, you would think that the only issue that matters is the now seriously tiresome, circular and self-righteous arguments around ‘image manipulation’. Here is a system (which also includes other competitions like POYI for example), that remains silent, and in fact in collusion with, the image manipulations of state-sanctioned, military enforced, ‘embedded’ photojournalism, and yet wails endlessly about ‘digital’ manipulation.

When compared to the fact that corporate and embedded photo/journalism has been one of the ugly handmaidens to our recent wars in Iraq, Afghanistan, Libya, Chad, Mali, Somalia, Pakistan’s Waziristan regions and more, I find it egregiously silly, if not entirely infantile, that manipulations that led to the deaths, destruction, occupation, torture, and more, are quietly ignored, but digital manipulations that are largely irrelevant and silly, garner all the outrage. We get so upset that Paul Hansen edited his image, while remain silent about the structural reasons for the deaths of the children that his image actually showed! Details »

Seeing It Again, But This Time Seeing It Differently

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An image from Northern Iraq that I made back in 2005 while working on a story about the struggle of Iraq’s Assyrian Christian community, appears this week on the poster of a new film by Daniel Lombroso about the region’s oldest Christian community. Back in 2005 I had argued that the invasion and occupation of Iraq had bought no respite to a community that had been targeted under the Saddam Hussein regime, and that all pretense to the contrary, the so-called ‘liberation’ of Iraq was about to create even more miseries and difficulties for the very people we claimed we were there to ‘liberate’.

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In Nepal…

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Contradicting my own recent post (see The Lure of The Ephemeral), our travels across South Asia investigating the prevalence of fistula amongst women in South Asia is being posted regularly on Instagram and Facebook. Its not your usual set of UN feeds, so enjoy it while it lasts. We are wrapping up our work here, and moving on to Pakistan soon.

The Lure Of The Ephemeral

A few friends and fellow photographers have stepped away from Instagram and other social media platforms for their work. In fact, I too have not posted on any social media platform for a while because of a nagging sense that by constantly feeding a structure of information dissemination that relied on the ‘likes’ of random strangers (a large number of whom seem to be prepubescent or barely adolescent boys and girls), i was being dragged away from a more considered, and measured way of working. There was this realization that at some point feeding the beast become more important than patiently producing the work, and that any and all measure of its success and its relevance becomes reduced to ‘# of followers’ or ‘likes’. In fact, I remember distinctly a couple of major editors criticizing my work in Pakistan for not being ‘accessible’ enough, and for being too difficult. They were concerned that I had no ‘social media’ strategy, and wondered what I was going to do to bring tens of thousands of followers to my site. The fact was that I wasn’t really even interested in that. In fact, there is a distinct intent in my works to be difficult, and demanding. I design these projects to be hard to view, and engage with. They are never meant for a vast audience, and I can’t even see the value of the audience of ‘social media’ that I am being told I need to pursue. Details »

The Easy Beauty Of The Unpolitical, The Effective Seduction Of The Obfuscatory

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Uncomfortable Realities, Disappointing Complexities And The Comforts Of Suburban Bourgeois Therapy – A Photographer Finds A Way To Cope

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But geopolitical reality was much messier than he’d assumed. It ignited a bleak cynicism in his worldview…In addition to learning about the difficult prospects for weak, independent states, he also discovered how such countries are populated: It often included ethnic cleansing and forced deportations…While Mr. Mahon is glad to be getting his work recognized, which was his original motivation, his perspective on these issues has shifted significantly. In a world of increased globalization, and the potential marginalization of the idea of the nation-state, he came to believe that the war, poverty and isolation experienced in these countries was not worth the trouble.

Not worth the trouble. And with those three words Mr. Mahon, a photojournalist wearing the respectability of a Pulitzer Center on Crisis Reporting grant, dismisses the political, economic, and social histories and struggles of the people that he apparently spent nearly 8 years trying to document and represent. And one is left with the question, which perhaps may never have occurred to Mr. Mahon, if he bothered to ask the people who are in fact fighting for something – rightly or wrongly, if they believed it was worth the trouble, the sacrifices and the severe consequences? One is left to wonder with what arrogance, narcissism and disdain does a man travel to document the societies that clearly live under tremendous political, military and economic threat and fragility, and then proceed to simply erase all these broader realities and judge them lacking? Details »

The Photojournalist As A Victim Of Ideology

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The New York Times Sunday Magazine joins the game of re-writing the war. The New York Times efforts – through the use of its correspondents and pundits, to obfuscate and outright distort this latest Israeli initiated and unnecessary mass slaughter of Palestinians in Gaza (with over 550 documented deaths of children alone, a war crime for which the entire Israeli political establishment should be held accountable and prosecuted if something such as ‘international law’ was real and concrete), are well-known and well document. (See http://www.fair.org/blog/2014/08/22/how-the-new-york-times-twists-gaza/ and more).

Now the magazine also gets into the game, sending two talented by voiceless photographers to the region, to create an absolutely false ‘balance’ between 2000 actual dead, 100,000 or more actually displaced, entire neighborhoods erased, infrastructure destroyed and the ‘..tension, sorrow and, at moments, great alarm.’ of the Israelis.

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The Shahrazade/El-Madani Studio Collection At New Museum, New York City

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I walked into the New Museum’s Here And Elsewhere exhibit recently. A major presentation of contemporary art from the Middle East. Much of it is quite predictable, some of it is downright amateurish, a few terribly is derivative and horribly scarred by the pretensions of modern Western contemporary art discourse. Some was quite disappointing as it desperately attempted to, as pointed out by one critic, that it “..takes our attention away from the political subject and draws it toward the artist’s techniques.” – a statement that I would use as a criticism of a work of art, but in fact was offered by way of praise by the writer. There are however moments of it that are luminous. For example, the gorgeous set of studio photography works from Hashem El-Madani.

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