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Master artists turn Siesta Beach into temporary sand sculpture gallery
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A Documentary Follows Biologists Fighting Ravens with Lasers and Decoys to Save Desert Tortoises
In 1990, the desert tortoise landed on the federal endangered species list following decades of decline. Expanding human populations in the western U.S. encroached on wild habitats and brought more ravens to the Mojave Desert—the large, black birds are known to scavenge for food and have a particular taste for young reptiles. Coupled with the effects of the climate crisis, these changes rapidly propelled the species toward extinction.
Conservation biologist Tim Shields has studied desert tortoises for decades and recently decided to intervene in this lopsided predator-prey relationship. In a short documentary for The New Yorker titled “Eco-Hack!,” Shields explains the innovative and non-lethal tactics his team uses for “educating” ravens and deterring them from attacking the reptiles. Green lasers, 3D-printed decoy shells, and explosive sprays all come into play in an effort to train the birds to find alternative food sources.
The strategies are more irritating than harmful to the ravens but already have had significant payoffs: more babies are now roaming the arid landscape, meaning their intervention is working to protect the slow-moving creatures that are particularly vulnerable in the first three years of life. “If we don’t want a really lonely planet that’s just us and ravens and rats and cockroaches, we have a whole ton of work to do,” he adds.
Josh Izenberg and Brett Marty produced “Eco-Hack!,” and you can find the full story behind the film in The New Yorker.
Do stories and artists like this matter to you? Become a Colossal Member today and support independent arts publishing for as little as $5 per month. The article A Documentary Follows Biologists Fighting Ravens with Lasers and Decoys to Save Desert Tortoises appeared first on Colossal.
Pulitzer prize winner talks photography in Burlington this weekend
Pulitzer-prize winning journalist and Harvard lecturer B.D. Colen is coming to Burlington to talk about photography.
Laureate College will welcome Colen to its campus on Saturday, Nov. 18, from 10 until noon. The session is part of Laureate’s Master Class series, which is an outreach program of the private co-ed, day and boarding school for Grade 9-12 students. The series aims to support the arts and build a creative hub in the community.
Colen will discuss documentary and street photography and his day-in-the-life photography (literally shooting photos of a family from sunup to sundown). He’ll then take questions.
Everyone is welcome to listen to the photo/journalist, who covered events that shaped the world, at the campus, 1921 Snake Rd., the 50-acre property of the former Notre Dame Convent.
Colen, 77, now calls London Ont. home. He shared some stories with BurlingtonToday about his impressive career that’s spanned more than six decades behind the lens.
He was working at Newsday in the 1980s when he shared a Pulitzer Prize for local reporting along with his colleague Kathleen Kerr.
Colen started his journalism career when he was 17 years old, covering the historic March on Washington for a small weekly in Connecticut. He went on to work at The Washington Post,among several esteemed newspapers in the U.S.
For years, he commuted on the Boston subway to teach students at Massachusetts Institute of Technology (MIT), and that’s where he began his collection of photographs called Alone, Together.
His commute became even longer when he moved to London.
“It was the longest commute; it wore me down,” he admitted. But it also gave him the opportunity to continue his series on individuals who appear alone in crowds of people.
“I photographed whatever caught my eye from the window of the train, to my getting a flu shot at MIT,” said Colen, who’s written several books on medical subjects, one of his specialties as a reporter. “It started as something to distract me.”
He’s known for his black and white photography that speaks volumes, especially on such subjects such as death, NGOs, civil rights and famine.
Over the years, he’s shot with every brand of camera – Fuji, Leika, Pentax, to name a few. But, he says, a passion for photography is not about the equipment.
“You get hooked very quickly and in that sense the camera doesn’t matter much,” he said. “It’s about being in the right place at the right time and knowing what to do with it, and it either comes together or it doesn’t.
“I used to tell students either you have an eye or you don’t. I can help you focus it, refine it, why you’re doing it, teach technical aspects, techniques, but I can’t give you the eye.”
He says people have asked him,”‘Why photographs?’ Because I can’t not. I have to do it. I don’t know why.”
As for shooting endless photos of a single subject, he said it happens easily.
“I always say, we’re all our own worst editors. Every photo is one of our babies, and nobody is an ugly baby. It’s learning to put some up for adoption.”
He enjoys reporting and talking to people equally as much.
“I’d tell my feature writing students that being a journalist is stepping on a ladder and looking over the fence into the neighbours’ yard and saying what’s going on. You see and learn things that other people don’t. Writing has come automatically to me. I think it’s having an eye. Anybody can learn to write basic English, but to get beyond that it’s either there or it’s not.”
He said although writing medical stories can be sad, he found it really interesting. In fact, he never took a single biology, physics or chemistry class throughout high school, and he ended up as a medical reporter.
“You ask questions. You learn where to go to get the basics you don’t have,” he said.
Although he says he’s retired, it’s a rare day when he doesn’t lift a camera. Most common, he laughs, his subjects these days are his three dachshunds: Webster, Edna and Cookie.
He said he spends more time now going through digital photos and trying to sort through those than actually shooting. Up until 2001, he only shot on film and he jokes “I was never particularly good at keeping those in order.”
Colen, who’s now married to a fellow dog lover, also has three children. Everyone is artistic: his daughter Karen is director of New York City’s Howard Greenberg Gallery for 20th century photography. His eldest son Ben is a renowned skateboard photographer in California and his youngest son, Nick, 41 is a graphic artist in Boston working on a comic book.
Three members of his family had works selected for this year’s 100KelloggLane London, an art competition which sees 100 works chosen out of thousands of submissions.
Learn more about Colen and find his photography at http://www.bdcolenphoto.com.
Colen’s Nov. 18 talk at Laureate is open to the community and admission is free, but guests are asked to register in advance.
TiaCorine on signing a deal and morphing as an artist
Women have been involved with the hip-hop genre from the very start. As a part of Funky 4 +1 More, Sharon Green, also known as MC Sha-Rock, is considered the first female rapper ever. She helped lay the foundation for women in the largely male-dominated hip-hop genre.
In the 1980s, the movement began to migrate south. New Orleans-born rapper Mia X debuted her skills and rapped alongside the notable Mannie Fresh, who gave us the beloved “Back That Thang Up.” From there, we were given rap talents like Miami native Trina and Memphis’s Gangsta Boo.
Their work in the industry created an affirming space for a new lane of female artists like Texas-born Megan Thee Stallion, Alabama-born Flo Milli, Atlanta-raised Latto, and Snow Hill-raised Rapsody. A New York Times article by Niela Orr deemed that The Future of Rap is Female and it is clear that women are leading the charge. More specifically, women in the South are dominating.
When I first interviewed TiaCorine at the Summer in tha Carolinas Festival 2022, it was an organic conversation in a cramped green room. With her daughter close to her side, we discussed her sound, style, and what to expect from her in the future. Since then, she completed her first two-month tour, opened up for rapper Key Glock, released her own shoe and merch, and performed her hit song “Freaky T” at Coachella with rapper Latto.
TiaCorine is an artist putting on for the city of Winston-Salem, North Carolina. This year, Corine signed to South Coast Music Group, which is home to North Carolina’s DaBaby and Toosii. When asked about being a part of a new area of lady-led music, she was ecstatic.
“I definitely think the future is definitely female,” Corine said, “but I don’t want to just say rap. I really don’t want to consider myself a rapper. I’m an artist. Females are great. I mean, we got it all. We got the looks, you know? People want to look at something that’s cute and sexy. I feel like we’re just more innovative and we’re creative.”
Claire Bishara
Her unique style shows traces of her interests in anime and rock ‘n’ roll, which her fans adore. With influences from both of her parents, her music is as versatile as her background.
“I remember my very first female influence, I think her name was Lil’ Mo,” she said. “I remember the song ‘SuperWoman.’ And I just loved that song.”
Corine talked about the other musical influences that shaped her sound. “(My dad) put me on to like the Hip-Hop side, you know the Sugar Hill Gang, Run-DMC, Salt & Pepper, (A) Tribe Called Quest …”
This, mixed with her mother’s alternative upbringing, allowed her to have versatile influences. “I got these two worlds going on,” TiaCorine said. Her mom is Native American and lived in Idaho. “She was more so listening to 80s, 90s, 60s, 70s like Rock-Pop,” she added, “So, she’s playing Queen and Tina Marie.” These influences contributed to the versatile and bubbly music that her fans listen to today.
Her distinct upbringing collided to make Corine a sensation and now, she does it all under the watchful eye of her young daughter, Zoe. She’s on track to be just as much of a star as Tia is.
“She literally is me,” she said, beaming with pride. “She’s really, really good at drawing. She loves music … I’m hearing her in the backseat. So, it’s like she’s gonna do something. I don’t know what. But she’s very creative. That’s my girl.”
Corine explained how this unique sound has allowed her to diversify her own music and experiment with genres outside of rap. She looks forward to the future of her artistry.
“I’m excited,” she said. “I’m working on the album and that is worth the wait. I’m building the content right now … I’m morphing right now … I’m trying to be on some iconic s—.”
Hytta Cabin: A Modern Cabin Retreat for Uninterrupted Relaxation + Creativity
Dominik Ilichman and Adam Hofman recognized the need for a sanctuary that could free people from the daily barrage of notifications, the hum of digital noise, and the incessant urge to check our phones. In response, they crafted a modern cabin where the noise of the outside world disappears, and a sense of tranquility takes over in the Czech Republic’s Lípa nad Dřevnicí. The place is the Hytta cabin, a modern oasis designed to help you find uninterrupted time for creativity, reflection, and relaxation.
At its core, Hytta is a celebration of Scandinavian minimalism. The philosophy? Minimalism fosters maximum focus and creativity. Inside, every element serves a purpose, eliminating any potential distractions. Yet, they’ve ensured that the modern comforts are still present, so you can work, think, and relax without compromise.
The Hytta cabin sits on a south-facing slope next to a pine forest, a deliberate move that shields it from the disturbances of civilization. The design, inspired by a former hunting cabin, creates a blend of rustic charm and modern innovation.
The ground floor includes an open living area with an integrated kitchen, a foyer, a bathroom, a utility room, and an outdoor bathroom for a direct connection to nature. The cabin’s high gable roof in the main living space provides ample room to explore one’s creativity. The bedroom, with a large window facing east, allows witness to the morning sun from the comforts of bed.
Hytta is heated primarily by a cast-iron, wood-burning stove with underfloor heating adding backup to ensure the cabin is always cozy and comfortable.
Two cozy nooks, one accessible from the bedroom and a second one above the main living area, offer additional sleeping areas, making Hytta perfect for accommodating up to six people. A large oak dining table doubles as a workspace, and technical facilities, like a computer monitor, are seamlessly integrated into storage cabinets. High-speed internet ensures connection when needed, and biodynamic lighting promotes healthy sleep by avoiding the emission of disruptive blue light after dark.
The walls and ceiling are clad in spruce offering a warm, cozy backdrop to the black accents and neutral furnishings.
A bent sheet metal staircase in the kitchen is suspended by cables as it rises to the main bedroom.
A short walk away from the cabin, a modern Finnish sauna with a cold immersion tub awaits. The structure, with its deep charred-timber clad facade, almost blends with the surrounding nature. The sauna offers a perfect spot to unwind while taking in the unobstructed views of the forest. The relaxation area, shower, and sauna are thoughtfully designed to provide a serene escape outside the cabin.
Adam Hofman and Dominik Ilichman
Want to escape your own hectic world for a bit? Luckily, the Hytta cabin is available to rent. More information here.
Photography by Studio Flusser and Julius Filip.
Indian steel tycoons to launch art centre near historic site of Hampi
One of India’s richest families—and most prominent groups of cultural patrons—will open a contemporary art centre in the country’s south next year. Hampi Art Labs is being launched by the JSW Foundation, the social development arm of the JSW Group, a Mumbai-headquartered conglomerate founded and led by members of the Jindal family. The company, which has holdings in steel, energy and infrastructure, among other assets, has a reported annual revenue of $22bn.
The 18-acre art centre, due to open in February 2024, will be located in a town near Hampi, a Unesco World Heritage site, around a six-hour drive from Bengaluru. A popular tourist destination, Hampi was once the capital of the Vijayanagara Empire, which ruled parts of southern India from the 14th to the early 17th century. During its peak, the empire was one of the world’s largest in terms of prosperity and size, and its leaders erected more than 1,000 monuments across Hampi, including intricately carved stone temples, markets and gateways, a number of which remain intact. Tourists also visit the site for its striking geographical position, amid vast boulder formations and on the banks of the Tungabhadra river.
A stone chariot in Hampi
Photo: Flickr
Hampi Art Labs will house exhibition venues, studios and a new artist residency programme. It is built with an undisclosed budget, on land owned by the JSW Group in the town of Vijayanagara, where the conglomerate operates India’s largest steel plant.
“Hampi Art Labs is an institution uniquely born of place—the proximity of the JSW Plant in Vijayanagar to an ancient and distinctive world heritage site like Hampi offers unparalleled possibilities that having this residency in an urban centre could not match,” says Sangita Jindal, the chairperson of JSW Foundation and the wife of Sajjan Jindal, the chairperson of the JSW Group. She will oversee the centre along with her daughter, Tarini, the creative director of Hampi Art Labs.
Hampi Art Labs artists will have access to facilities in the nearby JSW steel plant, Vijayanagar Works, in Vijayanagar, Karnataka
Artist residents will have access to the steel plant to “work on a large scale and with specialised equipment”. Further production facilities include those for printmaking, ceramics and new media.
This is not the first culture initiative the Jindals have launched in the area. In 2012, JSW opened Kaladham, a ten-acre campus in Vijayanagar that houses a museum dedicated to the heritage of Hampi, along with performance venues. Sangita Jindal has also previously worked with the Global Heritage Fund to restore temple sites in Hampi.
Sangita Jindal
Courtesy of JSW Foundation
The Jindals are well known in India for funding and promoting a wide range of visual arts initiatives. Sangita Jindal is the publisher of Art India, a quarterly magazine covering India’s art world. The Jindal collection, mainly focusing on Modern and contemporary South Asian art, features “more than 1,000” works and is housed across a number of properties and offices owned by the family. Around 80% of the collection belongs to Sangita Jindal, with the rest owned by JSW Group. The new centre’s inaugural show will focus on works from the collection by artists including Bharti Kher, Andy Warhol, Lubna Chowdhary and Ai Weiwei. Future exhibitions will be made up of new, commissioned works and loans.
The first set of artists signed up to the residency programme are Bhasha Chakrabarti, Sharbendu De, Madhavi Gore, Promiti Hossain and Anirudh Singh Shaktawat. The new centre is being designed by the architect Sameep Padora and his studio sP+a.
Stunning Mobile Photo Winners of the OnePlus Photography Awards
“Fire Dragon Dancer
at the Night” by Zhuowen Ao. Grand Winner. Shot with OnePlus 11
Tech brand OnePlus showed off the creative power of its mobile phones at the renowned Lucie Awards. Held annually to celebrate achievements in photography, the Lucies is a prestigious event that OnePlus helps sponsor. And, as part of the celebrations, eight winners from the OnePlus Photography Awards were exhibited in New York along with other top winners from the International Photo Awards.
“The partnership between the International Photography Awards and OnePlus has given rise to a global photography sensation. This is a magnificent showcase of artistic flair, creativity, and talent hailing from every corner of the globe through the power of mobile phones,” said Hossein Farmani, IPA Founder and President. “We are thrilled to celebrate the 20th anniversary of the International Photography Awards with OnePlus. Our collaboration with OnePlus is a milestone we take immense pride in. Throughout the partnership, we have seen the true potential and power of mobile photography, and we look forward to continuing to work together with OnePlus to make great photography more accessible while encouraging everyone with a phone camera to become a photographer capable of capturing and sharing special moments with the world.”
The winners of the OnePlus Photography Awards were announced in August, with photographer Zhuowen Ao taking home to top prize. His exceptional image of a fire dragon dancer at Chinese New Year shows the power of the OnePlus 11. Sparks of light from the celebration are perfectly captured as the dancer walks through the darkness, showing that the mobile phone can handle tough lighting situations.
The other images placed on display were taken from the competition’s three categories—Infinite Nature, City Voice, and Visions of Night. Each image is a masterclass in mobile photography and fits in beautifully with the other work in the exhibition. From a mysterious ice cave to a crowded subway car, there was nothing that these photographers couldn’t capture with their phones.
Check out some of the incredible winners of the OnePlus Photography Awards.
“Ice Cave” by Chen Ma. 1st Place, Infinite Nature, Official Website. Shot with OnePlus 11
“Crowded Metro Station” by Hhersher Sun. 3rd Place, City Voice, Official Website. Shot with OnePlus 8T
“The Hangrang Valley” by Samyak Jain. 1st Place, Infinite Nature, Social Media Group. Shot with OnePlus 9 Pro
“Ferris Wheels” by Rijan Sangat. 3rd Place, Visions of Night, Official Website. Shot with OnePlus 10 Pro
“The Golden Spruces” by Luca Camminati. 2nd Place, Infinite Nature, Official Website. Shot with OnePlus 9 Pro
“Orion Stars” by mohandravid. 1st Place, Visions of Night, Social Media Group. Shot with OnePlus 9 Pro
“Midwest Midnight” by Justen Christensen. 1st Place, Visions of Night, Official Website. Shot with OnePlus Nord N20
OnePlus: Website | Facebook | Instagram
My Modern Met granted permission to feature photos by OnePlus.
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‘Music is powerful’: First-ever Saskatchewan Indigenous Music Awards wraps up a success
Longtime gospel singer Yvonne St. Germaine took the stage next to present the Gospel Recording of the Year Award. Sundance and Sunshine Brass from the Pasqua First Nation took that prize.
Speaking to paNOW after the moment, Sundance noted winning the award was ‘tremendously awesome.’
“This is one of my very first awards I’ve ever received so I’m very thankful,” he said. “I can’t wait to look back 20, 30 years from now and say ‘hey, I was a part of the very first one in 2023.”
Next up was the Song of the Year category with five artists up for that honour: Shawn Adams, Nige B, JJ Lavallee, Donny Corrigal, and Jarrid Lee.
Prince Albert Mayor Greg Dionne presented that award to Metis Country performer Shawn Adams.
Fellow country artist Jarrid Lee was the next award winner, nabbing the Country/Roots Person of the Year Award.
Nige B, a member of the Lac La Ronge Indian Band was a big winner Sunday night, claiming two awards for Instrumentalist of the Year and Rock/Heavy Metal/Rap Person of the Year.
By far the greatest honour of the evening went to Lawrence Joseph, the first-ever recipient of the Willard Ahenakew Award.
Before presenting the award to Joseph, Ahenakew’s son, Lee spoke to the crowd about what it meant to have a lifetime achievement award named in honour of his father, who was unable to attend the ceremony in person.
Surrounded by his family, Joseph was humbled by the award and what it meant to him to be a champion for Indigenous musicians but also to use music to help those overcome substance abuse. He was congratulated with the night’s only standing ovation.
Joseph spent decades as a musician but also served on Prince Albert’s city council and was once Chief of the Federation of Sovereign Indigenous Nations (FSIN).
Following a performance by the Strong Sisters from Black Lake First Nation, the Female and Male Artist of the Year awards were next on the docket.
Falynn Baptiste of Red Pheasant Cree Nation won the award and thanked her community and all her supporters for helping her reach this pinnacle of her career.
The Male Artist of the Year trophy went to JJ Lavallee who in his acceptance speech thanked the province of Saskatchewan for making him feel at home. Lavallee is originally from Manitoba but said he’s looking forward to continuing his music career in Saskatchewan.
“I called Saskatchewan home over a year now and it’s been wonderful. I’m just looking forward to seeing what more Saskatchewan has to offer,” he said.
He added that he was a bit surprised to win the award given the amount of talent that was nominated.
Finally, it was time for the last award, The Fan Choice Entertainer of the Year. Five artists were up this prestigious honour: Donny Corrigal, Jarid Lee, Nige B, Berk Jodoin, Rebecca Strong, Glen Strong, Melodie Gliem.
Donny Corrigal was announced the winner and said after the event that being nominated was worthy enough.
“There was just so much talent here. SIMA did a great job of putting together this whole show.”
The show would not have been possible without the work of the board of the Saskatchean Indigenous Music Association (SIMA).
Talks of an awards ceremony first came to light about two years ago from president Donny Parenteau. From there the vision grew into what transpired on Sunday night.
However, as Donny and other board members mentioned that evening, this awards show is just the beginning as they anticipate greater events will happen in the future.
“We made history tonight as the first,” said Yvonne St. Germaine who sits on the board. “These nominees are going to look back and know where their start came from and to be a part of that, there’s no words.”
“It’s going to attract more younger artists, more people in those northern communities,” added Lavallee. “Now they see that ‘there’s something for me to aspire to and something to push my music towards.”
Sundance Brass agreed with the feeling that the awards show will grow each year, noting that music made a huge difference in his life, and it has the power to do that for countless Indigenous people in Saskatchewan.
“Music is very powerful. It’s a very powerful force not to be reckoned with,” he said. “Music speaks to many levels of people, all ages and to be able to come out and have awards like this with the music industry is so wonderful.”
Plans are already in motion for the 2024 Saskatchewan Indigenous Music Awards with many of the nominated and winning artists this year also in line for a Saskatchewan Music Award. That ceremony is set to take place Dec. 2 at the Broadway Theatre in Saskatoon.
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derek.craddock@pattisonmedia.com
Sculpture from J. W. Wiggins Native American Art Collection to be Displayed at the National Gallery of Canada – News
Ever since Dr. J.W. “Bill” Wiggins, a chemistry professor and higher education administrator, retired from UA Little Rock in 2002, he’s spent his days sharing his love of indigenous North […]
Photography’s Power as an Agent of Social Change
Since its origins in the 19th century, photography has proven to be a powerful medium for documenting human life and bringing awareness to social issues. When a photograph captures an injustice or iconic moment, it can resonate around the world and galvanize people to take action. Photography’s unique ability to convey visual information makes it an unparalleled tool for social change.
The Power of Visuals
Photography derives immense power from its ability to show rather than tell. As the old adage goes “a picture is worth a thousand words.” A well-composed image can encapsulate complex emotions, narratives, and themes in one frame. Unlike the written word, photos convey information instantaneously. They transcend language and cultural barriers.
A photograph of a starving child or bloody conflict scene elicits an immediate visceral response. Photography captures a split second that communicates volumes through visual details. The way a subjects’ eyes gaze, clothes drape, or limbs contort tell a vivid story. Photography makes it impossible to ignore harsh realities. When people open a newspaper or website and see a photograph of war victims, they cannot dismiss the human costs. The memorable visuals etched in society’s collective conscience have significant psychological impact. Photos of such subject matter play upon human empathy and advance calls for change.
Furthering Social Causes
Many photographers have actively sought to spur societal reforms by documenting relevant subject matter. During the Great Depression, Dorothea Lange captured impoverished farming families, bringing attention to their plight. Her famous “Migrant Mother” photograph became one of the most iconic images of that era. The worn look on the mother’s face, matched by her children’s tattered clothes, tell a bleak story. Lange once said: “The camera is an instrument that teaches people how to see without a camera.” Her social realism photos showed inequalities that needed addressing.
Likewise, Lewis Hine used his camera as a tool for social justice and labor reform in the early 1900s. As an investigative photojournalist, he uncovered the exploitative use of child labor in factories, mines, and canneries. His exposes led to new workplace regulations and business practices. Hine’s photos of children operating heavy machinery potently illustrated why child labor laws were necessary. The innocence of their faces juxtaposed with harsh industrial equipment pulled at the heartstrings.
Other influential photographers such as Jacob Riis, Gordon Parks, and Sebastião Salgado have used their cameras to advance social causes like improving slum conditions, ending segregation, and protecting marginalized groups. Their photos did not just document historic moments – they actively worked to drive social progress and change people’s attitudes.
Turning Points for Human Rights
Certain iconic photos have underscored human rights abuses and spurred international outcry. Nick Ut’s 1972 photograph of a naked Vietnamese girl fleeing a napalm attack conveyed the horrors of the Vietnam War. The disturbing image contributed to growing anti-war sentiment. Similarly, the photos that emerged from Abu Ghraib prison, showing U.S. soldiers humiliating Iraqi prisoners, sparked global condemnation.
Kevin Carter’s 1993 photo of a vulture stalking a starving child in Sudan highlighted the human toll caused by famine and civil war. The UN’s food aid policies toward Sudan changed after this photo’s publication. Modern smartphones have enabled more firsthand documentation of human rights violations. Citizen journalism has exposed atrocities that repressive regimes try to hide from the world.
Photography has proven pivotal for the civil rights, feminist, and LGBTQ+ movements. Photos of peaceful protestors being attacked by police or sprayed by fire hoses conveyed why the cause was just. Iconic images from marches, sit-ins, and riots fueled momentum during the 1960s. Photos of groups marginalized and victimized because of gender or sexual orientation generated solidarity and advanced legislation protecting rights.
Preserving Collective Memory
Beyond inciting immediate reactions, photographs cement significant historical events in society’s collective memory. Photos allow people to visually engage with history beyond what written accounts provide. Seeing those moments resonate more deeply than words alone could.
Photography preserves the raw emotions and humanity from days gone by. Looking at Dorothea Lange’s Depression era portraits or Ellis Island immigration photos creates human connections to the past. Iconic news images of historic events carry immense visual power and context. Anyone seeing the lone Tiananmen Square protestor blocking a tank understands his defiance and courage. Photography solidifies historical moments as shared visual reference points across generations in a way that language alone cannot.
The Advent of Citizen Photojournalism
In today’s digital era, nearly everyone has a camera in their pocket. The rise of smartphones equipped with HD video and sharing apps has transformed eyewitness photography. Citizen photojournalism has allowed pivotal events to be spontaneously documented from multiple angles. Protests, riots, revolutions, and other breaking news can be captured in real-time from the scene.
Average people can quickly share photos or even livestream events as they unfold on the ground. While professional photojournalists still provide invaluable service, citizen footage now significantly expands photographic documentation of historic social moments. This degree of spontaneity and accessibility was unimaginable not long ago. Citizen photos offer street-level perspectives that news outlets cannot always provide.
The framing and vantage point of citizen images can portray events in novel ways as well. The role of photography in social change will only continue evolving in new directions thanks to citizen journalism. Any bystander can potentially capture the next image that spurs major social impact and consequences.
Photography’s ability to incite reactions, shape narratives, and sway opinions explains its enduring impact as an agent of social change. The written word cannot match photography’s immediacy and ability to elicit empathy. Statistical data and facts do not resonate emotionally the way visualized suffering does. Of course, that is not to say that the written word and data are not just as important in their own ways, but neither can elicit the immediate visceral impact an image can.
Hearing about atrocities secondhand does not compare to seeing photographic evidence. Photography’s influence endures because seeing truly is believing for most people. That timeless maxim will ensure photography’s continued role in advocating for social reform far into the future. Photos that reveal injustice possess unmatched power to spur public outcry and demands for change.
Challenges and Ethical Questions
Despite photography’s immense capacity for positive change, the medium also raises many ethical challenges. Some critics argue that graphic images of human suffering are exploitative and unethical to disseminate regardless of good intentions.
The notion of consent is problematic, as many subjects are unable to give permission or voice objections to how their likeness is used. Audiences often consume troubling photos as spectacle while remaining complacent. Photography can aestheticize and commodify trauma in troubling ways.
Photographers have been criticized for altering the normal behavior of subjects to maximize drama and pathos. Dorothea Lange famously posed her “Migrant Mother” rather than capturing a spontaneous moment. Photojournalists must balance truthful representation with respect for human dignity. They must consider how personal biases, framing, editing, and captions shape perceptions. They hold tremendous power in their hands.
Finally, the legitimacy of digital photos as accurate documentation faces scrutiny. Continually advancing editing capabilities have enabled convincing image manipulation. The audience must determine whether viral photos are authentic evidence or altered misinformation, and one can easily argue that the audience is always behind the curve of the latest possibilities. Responsible practices and ethics are paramount.
Photography’s Enduring Role
Despite ethical complexities, photography remains an unmatched medium for motivating social reform. Responsible image-makers consider how to respectfully capture human struggles. The power of photography to influence public opinion endures regardless of staging controversies and emerging technologies. A well-composed image will always speak volumes more than words.
Modern camera phones enable any passerby to similarly document injustice. That unprecedented capability will only enhance photography’s role as an agent of social change in the time to come.
Lead image of Dr. Martin Luther King Jr. arrested for “loitering,” by Charles Moore (public domain).
