- at one extreme is the "snapshot", interpreted literally. The photographer is an observer with a fast trigger finger (like Col. Van Loan(?sp) shooting the Vietcong prisoner in Vietnam during Tet 68). Security camera footage and "candid camera" shots also qualify.
- the planned "snapshot", where the subject matter is predictable but the photographer is still an observer. Think of the famous photo of Clinton and Lewinsky in the receiving line or JFKjr under JFK's desk--the photographers knew they might get a picture from the situation and did.
- this grades over into "photo-ops" and ceremonies, where the subject plans an event to provide the predictable pictures.
- there's also the photographer-posed events, like wedding ceremonies, handshakes, etc. The NYTimes had a photo in connection with the completion of digging a section of tunnel for the water system. A worker had one foot on the rail. While it seemed real, I suspect it was posed, because it was too good a picture to be caught naturally.
- a new variation is the "realness" of the event. A wedding or a bill signing is a real event, usually but not necessarily. Realness also ties to "uniqueness"--presumably you can only get a picture once.
- finally there's the photographer created events, like much art.
Blogging on bureaucracy, organizations, USDA, agriculture programs, American history, the food movement, and other interests. Often contrarian, usually optimistic, sometimes didactic, occasionally funny, rarely wrong, always a nitpicker.
Monday, August 14, 2006
Staging Photography
Dr. Bernstein at The Volokh Conspiracy has commented extensively on evidence of staging and faking photographs from Lebanon. I commented, and will expand here. (I should look up Susan Sontag's book on the subject, but I'm too lazy.) There's are multiple continuums of photography, with many distinctions, some of which get overlooked in the current discussion:
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