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	<title>Comments on: A Conversation with Mishka Henner</title>
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	<description>The Image / Incarceration / Representation / Media / Social Justice / Responsible Photography</description>
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		<title>By: &#8220;Pity has a long and well-established aesthetic and I just don’t buy it anymore.&#8221; &#124; Rico Grimm</title>
		<link>http://prisonphotography.org/2012/04/23/a-conversation-with-mishka-henner/#comment-13886</link>
		<dc:creator><![CDATA[&#8220;Pity has a long and well-established aesthetic and I just don’t buy it anymore.&#8221; &#124; Rico Grimm]]></dc:creator>
		<pubDate>Mon, 07 Jan 2013 23:13:33 +0000</pubDate>
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		<description><![CDATA[[...] &#8220;Pity has a long and well-established aesthetic and I just don’t buy it anymore.&#8221; [...]]]></description>
		<content:encoded><![CDATA[<p>[...] &#8220;Pity has a long and well-established aesthetic and I just don’t buy it anymore.&#8221; [...]</p>
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		<title>By: Ashley Gilbertson</title>
		<link>http://prisonphotography.org/2012/04/23/a-conversation-with-mishka-henner/#comment-13478</link>
		<dc:creator><![CDATA[Ashley Gilbertson]]></dc:creator>
		<pubDate>Thu, 29 Nov 2012 06:22:56 +0000</pubDate>
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		<description><![CDATA[The more I think about Mishka&#039;s work and his treatment of this story, the more I find myself thinking that perhaps the GSV camera is the most objective, honest lens. I&#039;m naturally a big proponent of being up close and intimate, but in this case I feel Mishka made a clear point with the cold robot camera usage - it represents the heart of the story exceptionally well. The lack of intimacy in his presence or his own camera actually makes me more closely attuned to the dreams and potential in the lives and dreams of those women photographed. GSV makes it pedestrian, and normal, which makes it more shocking. 

It&#039;s peculiar, and I&#039;m still conflicted–this impersonal approach makes the work more humanizing than any other series on the subject. It doesn&#039;t sit well with me, however I deeply appreciate it and understand it.]]></description>
		<content:encoded><![CDATA[<p>The more I think about Mishka&#8217;s work and his treatment of this story, the more I find myself thinking that perhaps the GSV camera is the most objective, honest lens. I&#8217;m naturally a big proponent of being up close and intimate, but in this case I feel Mishka made a clear point with the cold robot camera usage &#8211; it represents the heart of the story exceptionally well. The lack of intimacy in his presence or his own camera actually makes me more closely attuned to the dreams and potential in the lives and dreams of those women photographed. GSV makes it pedestrian, and normal, which makes it more shocking. </p>
<p>It&#8217;s peculiar, and I&#8217;m still conflicted–this impersonal approach makes the work more humanizing than any other series on the subject. It doesn&#8217;t sit well with me, however I deeply appreciate it and understand it.</p>
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		<title>By: The Best Photographers of the First 1/8th of the 21st Century &#171; Prison Photography</title>
		<link>http://prisonphotography.org/2012/04/23/a-conversation-with-mishka-henner/#comment-13017</link>
		<dc:creator><![CDATA[The Best Photographers of the First 1/8th of the 21st Century &#171; Prison Photography]]></dc:creator>
		<pubDate>Wed, 26 Sep 2012 01:35:17 +0000</pubDate>
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		<description><![CDATA[[...] Mishka Henner. I think his time has come. Bound to wind a few folk up, he at least steps forward to defend his use of satellite, GSV and Google Earth images. He&#8217;s forcing everyone past the unnecessary [...]]]></description>
		<content:encoded><![CDATA[<p>[...] Mishka Henner. I think his time has come. Bound to wind a few folk up, he at least steps forward to defend his use of satellite, GSV and Google Earth images. He&#8217;s forcing everyone past the unnecessary [...]</p>
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