I tried to re-post this but couldn't get it to work right. So, I copied and pasted instead. Here's the quote I'm responding to:
photowings: Your comment on Steve McCurry is interesting and one we’d love to hear from others on. His words will also be in in our upcoming Ethics Session.   Photographers, particularly ones with long careers, who have covered conflict and worked in tough sensitive situations are complex people who are driven to bring back important stories.  This work takes a certain kind of personality. It can also sometimes take a personal toll...Â
Week (3): Power of Photography from brenbrenj
Steve McCurry: Am I the only one who is disturbed by the way he speaks about his image “Afghan Girl”? I can’t put my finger on what it is, but something about the way he speaks of this image makes me feel uncomfortable. I am a visual learner. Maybe it’s because this is an audio clip and I can’t see his facial expressions when he speaks? Still, there is something…
I listened again after reading your comment. I, too, was disturbed by something, but didn't have clarity about what it was the first time. For me I think what comes up is concern for her safety. They were careful to take the photo where the community probably wouldn't know it was going on, but saying that "most" people in the community don't watch TV or know about Nat Geo doesn't mean that none of them do or will. With it becoming even more dangerous for women in Afghanistan, I wonder if this was too much of a risk to take, and whether it might have been better not to publish the photos of her as an adult.
I also wonder about her family's suspension of the taboo. I admit that my understanding is extremely limited, but my perception is that violating taboos like that, especially in the past few years, can be extremely dangerous.
Another area where I don't know how things work: Is it possible that Nat Geo might have paid the family if it would get them the photo? If so, is it possible that the men in the family got the money and she took the risk? And is still at risk?
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Power of Photography (Session 3) conversation
Week (3): Power of Photography from brenbrenj
Philip Zimbardo: I took a Photography Appreciation course in the summer of 2009. The images that Philip describes in this video are photos that I remember studying in the class I took over three years ago, yet when he started describing the image of Kim Phuc and the iconic image from Kent State I did not have to dig deep in my memory to find these images again. I did not look at the images until after he had finished describing them. And they were exactly as I had remembered. I found this very fascinating. I remembered the agony on their faces in great detail as he was speaking about them and when I looked at the photos again after all this time, it was strange and eerie that I remembered them so clearly. That is the power photography has. The two iconic images that Philip speaks about (Kim Phuc and Kent State) were images that captured moments that I tucked away in my mind, yet when prompted to remember, I did so in an almost instantaneous clarity.Â
Ken Light: Social Documentary Photography - I love the way he speaks about photography and photographers. He speaks so eloquently and freely. He speaks with passion. His says, “Photographers are a part of change, they are not usually the change themselves.” This is a reminder to me that change never happens by itself. Photography is a powerful tool. One of the many tools that works to create change.Â
Documentary Photography and Humanistic Tradition - A deep connection between the photographer and the subject. How do you gain access? You are the only one who cares. Be a good listener. Tell their stories. Don’t read about them, meet them.
Speaking of Eugene Richards’ Powerful Approach - He says Eugene is a storyteller. He listens very deeply, yet is still a photographer; he’s a fly on the wall. He’s intense. He takes pictures for others. He has a way of allowing the voice/pain/message to come through the photographer/camera/image.
Different Voices in Photography - International language in photography is traveling around the world. Not all countries have a sense of their own photographic culture because the West has been a dominant part of the history of photography. As photography develops around the world, these countries will develop their own photographic histories and their own way of creating images. I’m intrigued!
Steve McCurry: Am I the only one who is disturbed by the way he speaks about his image “Afghan Girl”? I can’t put my finger on what it is, but something about the way he speaks of this image makes me feel uncomfortable. I am a visual learner. Maybe it’s because this is an audio clip and I can’t see his facial expressions when he speaks? Still, there is something…
Camille Seaman:Â A powerful story of how she realized that photography was her destiny! Very unique. Such a gentle spirit. I would like to meet her.
Anthony Penrose: What a fantastic story. A lifelong commitment to preserve and catalogue such an expansive personal collection! I’m sure he learns something new about his mother every single day. Founder and director of an archive dedicated to his mother and her work. It’s true adoration of his mother and her work. I would do the same thing if I were in his shoes. Â
#pwau12 #photowings #ashokau #photography
PhotoWings/AshokaU response: We’re pleased that you clearly watched/listened to all of our content. We thought a lot about what content to share – we’ve done a lot of original interviews. This content is deep and broad. It’ll stick with you throughout life and its wisdom will arise from your subliminal mind remain as a tool to call on.
It’s interesting that you remembered the images Phil Zimbardo speaks of so clearly. It speaks to their rise to the level of iconic. These are images that a number of our interviewees also spoke of.  There are so many images taken in the world… why do you think these rise so high in people’s memories?   Anyone else?
Other excellent observations: “Photographers are a part of change, they are not usually the change themselves.” How can photographers and others take it to the next level to help make this happen?
Eugene Richards work is remarkable. There are many people doing work on the same subjects but his are some of the strongest, which he describes as “bold narrative stories that bear witness to the dramas in real lives and comment on our times in which we live.” Gene has a background in activism and social worker including the founding of a social service organization and a newspaper. He’s a recipient of NEA and Guggenheim Fellowship grants. Clearly this background has helped him develop a way of digging in deep into the most sensitive subjects and documenting them in such an intimate manner. There’s a lot to be learned from him – he teaches, as do many of the people we’re featuring.
Your comment on Steve McCurry is interesting and one we’d love to hear from others on. His words will also be in in our upcoming Ethics Session.   Photographers, particularly ones with long careers, who have covered conflict and worked in tough sensitive situations are complex people who are driven to bring back important stories.  This work takes a certain kind of personality. It can also sometimes take a personal toll, as is discussed in the Lee Miller content since she was someone who didn’t choose to be in that situation. It was generous of her son Tony Penrose to share that side of his mother. You may consider reading some of the books in the References section on the lives of photographers – I’ve given a video introduction to them. Photographers are sometimes fascinating people who have lived amazing lives. There’s a lot to be learned and think about.
I can’t say enough about my friend Camille Seaman’s spirit. We had a lot of terrific content to choose from in her interview. Her work is remarkable and reflects her deep, sincere heart. She’s one of the most verbally expressive people I’ve ever met. I’d strongly suggest you listen to all of her videos and follow her career.
We would love for other people to join our conversation.
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