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TORTURE REVELATIONS

It was a double whammy this week. Everyone noticed the 6,000 page report into CIA torture. Many won’t know that today was the day that Justice Department attorneys presented the Obama administrations rationale for suppressing over 2,100 photos and videos of torture by American military personnel in Iraq, and Afghanistan.

Since 2009, the Obama administration has argued that releasing them would inflame anti-American sentiment abroad and place Americans at risk. Federal Judge Alvin Hellerstein of the United States District Court for the Southern District of New York is not so easily convinced and wants the government to explain, photograph by photograph, how each might pose a threat to national security. The fight to release these photos dates to 2004, when the American Civil Liberties Union filed a Freedom of Information Act request.

David Levi Strauss has tracked these developments from the very beginning. Several chapters in his new book is Words Not Spent Today Buy Smaller Images Tomorrow (Aperture, 2014) deal directly with the war over control of torture photos.

CONVERSATION

Strauss and I, for WIRED talked about state secrets, how the brain is wired, the political power of images and whether or not photos of Osama Bin Laden’s corpse actually exist.

WIRED: Why has the release of 2,000-plus remaining images and videos made by US military personnel in Abu Ghraib not been resolved?

Strauss: Because of the effectiveness of the images. They became the symbol of the change in US policy to include torture. Images are very powerful. That’s why the US government has become very afraid of the effects of these images worldwide.

The other amazing thing about the Abu Ghraib images was that they crossed the boundary between private and public. That is unusual. It changed things for photojournalism, for the military, certainly, and for the public at large. Prior to the release of the Abu Ghraib images, the military was handing out cameras to soldiers so that they could use photos to stay in touch with their families, and to be used operationally.

Read the full conversation: The War Over the US Government’s Unreleased Torture Pictures.

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[All images for this Prison Photography post via Salon]

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HERE PRESS has done it again; it has produced a book that allows us an irresistible glimpse into foreign space and psychology. 2041 is a collection of self-portraits, made by a man, donning makeshift burqas and niqabs, in his home in England.

The title 2041 refers to the name by which the man is known. “2041” made thousands of images with the express intent to share them online with fellow full-coverage enthusiasts.

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“Using the camera to articulate a passion he has secretly indulged for decades, the artist appears dozens of times without ever disclosing his image or identity,” says the HERE press release. “Long before 2041 bought his first real burqa online, he began crafting his own versions from draped and folded fabrics in a rich array of textures and colours … ranging from the traditional to the theatrical.”

2041 is part of a connected online community of men and women from across Western Europe and the Gulf States. They are Christians, Muslims and without religion.

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This is a gripping book and look into a world that cannot be fully known, nor can be fully verified. What is interesting, therefore, is that without identifiable subjects, the veracity of photography collapses. Or, at the least, we have to completely shift our expectations about what photography provides. The book 2041 is working on, and with, many levels. There’s a motivation by HERE to celebrate photography by revealing its limits and capacity. Despite a reliance on images to connect themselves, 2041 and his cohorts are inhabiting the unphotographable.

As such, 2041 is a playful but earnest exposé of the photographic medium as much as it is this small web of like-minded folks.

A similar type of mood persists in previous titles by HERE. Harry Hardie and Ben Weaver skirt the outer territories of our photo-landscape and delineate the edges. Edmund Clark’s Control Order House took us inside the ordinary domestic spaces of a terror suspect under house arrest. Power was described precisely by what was not photographed. Jason Lazarus’ Nirvana took us into grunge-infused personal histories; the photographs were just a foil to get subjects feting up about beautiful and traumatic pasts.

I, for one, am getting quite excited by HERE’s growing catalogue of ever-so-slightly-disconcerting photobooks.

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Between the internet and the veil 2041’s anonymity folds and billows. He remembers the enveloping cassocks and cottas he wore as a choirboy. As an adult, he moved toward total covering. In the early millennium, 2041 his bought his first computer and plugged into an online community that shared his passion.

“What almost all [of the people covering themselves] seem to crave is transcendence of the physical self – or at least being judged on the physical – coupled with the excitement of observing the world unseen, safely cocooned in luxuriant fabrics,” says HERE. “This is the burqa seen in a celebratory light.”

Naturally, I have lots of questions so I dropped Harry at HERE PRESS a line. He put me in touch with Lewis Chaplin who is co-founder of Fourteen Nineteen, but more importantly co-editor of 2041.

Scroll down for our Q&A

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Q&A

Prison Photography (PP): Where did you first see and hear about 2041’s photographs?

Lewis Chaplin (LC): I first found these images almost four years ago, while researching emergent subcultures of fetishists/obsessives who were finding community and likemindedness through the internet. Many of these people use Flickr in particular to indulge in their private desires, and it was here that I found 2041’s images. I was struck by the rigidity, flatness and compositional skills that his images had. Compared to most who used the image more as a byproduct or vehicle to access their fetishes, 2041’s images seemed more like the images were performed for the camera and the camera only, for the sake of documentation, rather than for anything else.

PP: Is the book 2041 made in collaboration with the subject? If so, how did you make contact, build trust, ensure discretion?

LC: Yes, it is fully collaborative. Contact was made initially by Harry Hardie , who introduced himself as a publisher, and then I was bought into the conversation. I began a regular correspondence with him, which culminated in a face-to-face meeting and then visits to his house, where we collaborated and photographed each other, and I went through his image archives.

PP: Have all the pictures been verified? Can we know it is the same person under the burqas and niqabs in all the pictures? Does verification matter? Is not knowing something in absolute certainty one of the facets of the images and their use?

LC: I can verify 90% of them through their EXIF data, as we have had access to raw camera files. However, it is not necessarily the same person concealed. I think it is this lack of verification that is the titilating point of these images. Beneath the veil, your physical identity shrinks into a few gestures and outlines, and you can take on the form and countenance of another.

Even now there are images which Ben Weaver (HERE PRESS)  and I cannot decide whether they depict our protagonist or others. To be certain though – this form of image-making is a firmly social practice, one based around solid online and offline networks. A few images in the book give this away, and were you to find 2041 online you would find images of me concealed, for example.

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PP: Why did you want to make this book?

LC: Because I think that unlike many of the images made by people with strange interests on the internet, these images say something very complex about photography. What I like about these images is that there is that they are purely performative gestures – but yet they give nothing away. They reveal the presence of an individual, but not their likeness, or an accurate representation. Something about the concealment of desire, or the hiding of the true likeness of an object in these images actually feels like a very nuanced statement on photography, that at no stage in the process ever actually tries to use the camera to bear any details, or describe anything accurately.

PP: How many potential subjects and/or images did you have to choose from in making the book? What makes 2041’s images special — some aspects of aesthetics, or merely their availability?

LC: It wasn’t so much a matter of choice, more that these images asked for some kind of sequencing and exploring. There is definitely an aesthetic dimension of these images that is appealing – the composition and contrast between flatness and texture, the shapes are unlike others I have seen – and there is also a lot of time and effort that has gone into these. 2041 is also an actor, and a painter. You can see the influence of classical painting on some of his poses and crops. He is also akin to humour and self-deprecation, you can see it sometimes.

PP: 2041 wishes to remain anonymous. Obviously, as the editor, you’re a legitimate proxy to whom I can talk. I want to ask what 2041 thinks of the book?

LC: Let’s ask him once he has seen it!

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PP: What do members of the online burqa fetish community think? What do you think they might think?

LC: I don’t think it has made its way through to these channels, but I would hope that what they see here is that we are not trying to ridicule or pass judgement through our scrutiny. This book I hope comes off as a sincere tribute to photography being used in a genuinely interesting way that talks about self-perception, the way images are used on the internet and so many other things, through the prism of a very personal, domestic and specific application of the camera.

PP: Do we understand what the burqa is and what it does?

LC: In these images the burqa, niqab or any other Muslim garment is a means to an end in some way. You can see in some of 2041’s experimentations that it is just about complete coverage through any means. He is not wearing a burqa in most images, in fact. The removal of physical presence is the goal here – it is never about using the burqa in a subversive or political way.

PP: Thanks, Lewis.

LC: Thank you, Pete.

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2041, the book

170 x 240mm, 120pp + 6pp insert
72 photographs + 1 illustration
Offset lithoprint on coated & uncoated paper Sewn in sections with loose dust jacket
Foil title
Choice of 3 cover ‘photo insert’ cards
Text, illustration & photographs by 2041
Edited & designed by Lewis Chaplin & Ben Weaver Edition of 500.

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Pursuant to my recent conversation with Beth Nakamura, I feel it necessary to focus on particular aspect of Oregon’s prison system on which she and Bryan Denson reported. The Blue Room.

Inside the Intensive Management Unit (IMU) at Oregon’s Snake River Correctional Institution, Nakamura photographed the Blue Room, a space in which prisoners watch videos of nature. Nakamura’s photographs and Denson’s words is the first news reporting on this fringe behavioural management method.

Firstly, why does the Blue Room exist? Prisoners in solitary are completely deprived of nature. In the IMU at Snake River, they are locked in their cell for 23 hours and 20 minutes every day. Prisoners’ only time outside of their windowless cell is 40 minutes in a concrete pen with high walls and a metal grate between they and the sky. IMU, the hole, SHU, the cooler, the box, solitary, call it what you like, extreme isolation makes men mad. Solitary is psychological torture. Neuroscience proves as much. Solitary is deprivation made physical.

The working hypothesis of the Blue Room is that exposure to video recorded scenes of nature will calm prisoners. It began operation in April 2013.

Let’s just pause right there and consider what  is happening here. Let’s consider the carceral logic and policies from which the Blue Room has emerged. The state has decided to isolate prisoners in bare cells, with only artificial light, in a state of near total sensory deprivation, for 23 in every 24 hours. Let’s not speculate why prisoners are isolated; I’m less interested in what behaviours land a prisoner in the harshest custody conditions, and more interested in if and how those custody conditions improve or exacerbate existing problems and/or create new problems.

There are many employees of the state — such as Capt. Randy Gilbertson, who oversees the IMU at Snake River — who acknowledge that solitary destroys one’s sense of self. In his article, Denson quotes Gilbertson:

“I’ve seen over the years how an inmate will come into the facility, and they’ll almost appear to be completely normal,” Gilbertson said. “After a phase of isolation, those guys – especially those guys with mental health issues – tend to decompensate. They break down and go a different route. And it brings out a whole different person in them.”

Nearly two-thirds of the 200+ men in Snake River’s IMU suffer moderate to severe mental illness. Solitary makes them more prone to violence.

In the past 25 years, states across the U.S. have built, staffed and populated Supermax prisons that specialise in abuse. Once in operation, even well-meaning employees and mental health care-givers can’t change the structure therein; their primary function is to limit the damage of the rigid, brutalising environment.

If we really wanted to provide prisoners with some nature, we could open a gate and let them go sit out in the yard for the afternoon! Put a window in their cell?! Give them exercise options beyond the standard “dog-pen.” But no. From within a carceral logic that says controlled bodies stay within the walls, ludicrous makeshift responses such as the Blue Room emerge.

When I first learned of the Blue Room’s existence, I immediately thought to the scene from the film A Clockwork Orange in which the character Alex has his eyes pinned open and is forced to view “scenes of ultra-violence.” The notion that psychological ills can be rectified by the sights and sounds of projected montages, for me, is the domain of fiction. What would Stanley Kubrick make of this private screening room? Or Anthony Burgess, for that matter? Would they conclude that Snake River prison is as dystopic as the near-future-Britain they created in novel and cinema?

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Film still, from A Clockwork Orange (1971), by Stanley Kubrick.

My first question about the Blue Room is not does it work? Rather, I have to wonder, why does it need to exist? What conditions of social order and disciplinary regime give rise to its “need” and justification?

The Blue Room is a pilot program drawing upon lesser-tested theories in eco-psychology. Denson explains that it came into being through a series of conversations.

In a 2010 TED talk, biologist Nalini Nadkarni talked generally about how nature can be used to rehabilitate and prisoners with jobs skills. At the time, I thought Nadkarni’s implementation of programs to identify moss species and raise endangered frogs as part of the Prison Sustainability Project was fantastic. I still do. Laudable initiatives. (I’ve talked about Nadkarni-started projects here and here on the blog before).

During her TED talk, Nadkarni mentioned she was thinking about installing large-scale murals of nature in the Supermax facilities of Washington. The Washington DOC was supportive but the correctional officers were opposed and the idea was shelved. Then, in late 2012, a Snake River corrections officer named Kevin Karpati watched the TED talk. Karpati emailed the link to Mark Nooth, the prison’s superintendent. Nooth, in turn, emailed the link to Capt. Randy Gilbertson, who oversees the IMU. Gilbertson contacted Nadkarni and asked if it could work.

This is where I wish to acknowledge that the people involved in instituting the Blue Room are making — from within a very restrictive law enforcement environment — efforts to improve the lot of prisoners. They have initiated the Blue Room as a response to severe deficiencies in the system. They cannot change the penal codes and administrative laws, but they can change the available practices within the walls. The Blue Room is an attempt to restore positive sensory input within a facility that routinely denies such inputs.

Nadkarni said she hoped it would work but had no evidence. All agreed that the only way to know was to test the hypothesis. An interior exercise room was converted to a screening room with projector and two chairs.

Nadkarni, along with National Gepgraphic documentary-maker Tierney Thys sourced nature videos. Many came from the NatGeo archives: Big Sur, New Zealand, Costa Rica, mountains, rivers, forest, tropical beaches, underwater reefs, roaring fires and a couple dozen other videos.

[Previously, I’ve written about bibliotherapy (the calculated use of reading lists to spur prisoners’ self-directed correction of “deviance”) in San Quentin Prison in the 1950s. The videotherapy at play in the Blue Room could be interpreted as a modern day equivalent. Words replaced by images?]

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Denson reports that early anecdotes and observations suggest that the Blue Room can have a calming effect. “Lance Schnacker, a researcher for the Oregon Youth Authority, studied the disciplinary records of Snake River’s IMU inmates in the year before, and the year after, the Blue Room opened,” writes Denson. “He calculated that those who didn’t get the unique therapy posted more referrals for disciplinary infractions, while those allowed to use the Blue Room showed a slight dip. Schnacker cautioned that these data were preliminary, but promising.”

Should we be surprised? Give prisoners any small amount of added agency and the opportunity to take-in stimulus that breaks the norm and the monotony then, I’d argue, we would observe a change in behaviour. And most likely, toward the positive. Again, I am left to wonder why prison administrations are initiating small-scale projects such as the Blue Room, instead of taking a step back and recognising that the institutional logic which returns to solitary time-and-time again is the more fundamental issue to address.

Nadkarni, Thys, Schnacker and eco-psychologist Patricia H. Hasbach are set work with Snake River staffers to observe prisoners, conduct surveys and correlate results to existing mental health files. They hope to be able to determine to what degree exactly the Blue Room calms prisoners.

However, determining whether the Blue Room does or does not reduce suicidal or violent tendencies is a red herring. The study misses the point. Whether prisoners see 20-minute long reels of guppy fish and seaweed, or not, doesn’t alter the fact that solitary confinement makes people lose their minds. Why are we interested in mitigating the effects of a barbarous facility when we should be dismantling the walls of the facility altogether?

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All images: Beth Nakamura

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Prison Obscura continues to travel. If you’re in or around New Jersey then you should know a version (a tighter edit) of Prison Obscura is currently on show at Alfa Arts Gallery in downtown New Brunswick. The show runs until November 1st.

The official opening was last Friday (10th) and coincided with the Marking Time: Prison Arts & Activism Conference at Rutgers University and hosted by the Institute for Research on Women (IRW). To give you a taster of the presentation, below are some snaps taken by staff at Alfa Arts Gallery. But not before a few notes of thanks …

GRATITUDE

I’d like to thank Alfa Art Gallery-owners Chris Kourtev and the entire Kourtev family for generously giving over their space for three weeks to house the show. Thanks to Nicole Fleetwood, Sarah Tobias and all the staff at IRW involved in bringing Prison Obscura to NJ. Thanks for a wonderful conference too!

I’d also like to extend my thanks once more to Matthew Callinan, Associate Director of Cantor Fitzgerald Gallery at Haverford. Matthew continues to make sure the logistics for each venue are taken care of and, in this case, gave up an entire Sunday to drive from Philadelphia and install the show. Thanks to the staff at John B. Hurford Center for Arts & Humanities at Haverford, who continue to support the exhibition.

For more information about the exhibition, visit the Prison Obscura website.

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© Ruddy Roye

PDX Design Week wrapped up last weekend. Before I moved out of the city, I was asked to do a guest post for the PDXDW blog. I don’t know much about design, so I wrote about photographers that are making good use of emerging technologies or commenting on our brave new world dominated by emerging and automated technologies.

Thanks to Taryn Cowart for her assistance getting it published.

With some line-editing, I crosspost the listicle below.

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PHOTOGRAPHY’S BEST

Good photography is good vibes. Often, even bad photography is good vibes. The world needs Seflies, SnapChat cheekiness, cat GIFs, and Doge bombs. However, sometimes, we have to search out the good stuff. We need to look around and ask what’s at stake. Frankly, there’s not a lot resting on your cellphone pictures — they’re not changing the world. When the technologies and file formats with which they were made are obsolete, no-one will care if your phone snaps are lost forever. Least of all you?

When we talk about art, journalism and photography we should be able to single projects out and to define worth. Some creative endeavors are world-changing. I want to give a nod to photographers and artists working with images who inform us about the world and some of its urgent issues. As users and consumers, I want to believe we can leverage rapid publishing and sharing for political and social improvement.

BEST USE OF INSTAGRAM

Ruddy Roye was the first photographer to really stake his style on the meaningful caption. He ditched the hashtags and asked real people some real questions. Based in New York most of his portraits are of people in his neighborhood and jollies around the Big Apple. His feed drips with humanity and reveals stories you couldn’t imagine. This is the REAL Humans OF New York! Also, I like to credit Roye for landing the fatal blow to the snarky #TLDR hashtag.

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© EverydayAfrica

SECOND BEST USE OF INSTAGRAM

Peter DiCampo and fellow journalist Austin Merrill (both white American) set up the Everyday Africa after years of reporting from the continent and witnessing nothing but sensational and scary images of war, tragedy and the like. What about the normal everyday stuff? In an attempt to make the most of boring daily things, DiCampo and a wide cadre of collaborator quickly put together a simple, illuminating, sometimes colorful, and intimate Instagram feed. It’s political but not difficult. Okay, so it’s a free-for-all that promotes aesthetically ordinary pictures, but I’ll take neoliberal relativism over neocolonialist manipulation every day of the week.

EverydayAfrica spurned dozens of loose collective of photographers who set up EverydayMiddleEast, EverydayAsia, EverydayIran and even EverydayBronx. Instagram sponsored an Everyday “Summit” at the 2014 Photoville Festival and ponied up cash to fly in contributors from all corners of the globe. These guys are much better IG-movement than the creepy Christians making VSCO lifestyle shots to pair with their #blessed affirmations and bible quotes.

Watch out though: EverydayUSA has some of the best photojournalists under it’s belt. Photo-industry-folk reckon EverydayUSA will soon eclipse all the other accounts, at which point the whole Everyday movement may have announced its death. Get on this young movement while it’s still fresh and focused on countries other than the one you live in.

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© Mishka Henner

BEST USE OF GOOGLE EARTH

If there’s a controversial topic Mishka Henner hasn’t produced a body of work on, he’s probably in his studio, right now, making it. From censorship, to prostitution in the Mediterranean, from military bases to big-ag food production, from war to big oil, Henner doesn’t shy away from tough topics. His skill is to do so without really leaving his studio. Henner is one of the cleverest, canniest and hardest working artists dealing with Google and the machine age of image-making.

He winds people up with his methods that are anathema to photo-purists but what else is there to do with available imagery if not to capture, ‘shop and frame it in political terms. Google is the all seeing eye that doesn’t care.

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© Tomas Van Houtryve

BEST USE OF PERSONAL DRONES

The Bureau of Investigative Journalism estimates American operated drones have killed between 2,296 and 3,718 people, as many as 957 of them civilians. That’s a whole lot of killing.

The program of U.S. airstrikes which began in 2002, but was only publicly acknowledged in 2012 is a remote war driven by a remote technology. Belgian photographer Tomas Van Houtryve decided the best way to grab Americans’ attention to the issue was to show them how drone attacks would appear in America.

There’s no shortage of projects about drones to get us thinking about the issue. John Vigg has his Google surveilled drone research labs and airports; Jamie Bridle traced a drone shadow in Washington D.C. last year and launched Dronestagram to populate social media sites with satellite views of drone strike sites; Trevor Paglen has photographed drones at distance; and Raphaella Dallaporta took a drone to Afghanistan under the guise of an archaeological survey.

Most recently Not A Bug Splat made a splash. Cheeky and powerful the project installed massive portraits of children in regions subject to U.S. drone strikes, with the intent of pricking the conscience of remote U.S. drone operators stationed in Nevada about to bring the hammer of destruction down on that Waziristan village.

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Screenshot of Josh Begley’s Prison Map

BEST USE OF SURVEILLANCE IMAGERY AGAINST THE SYSTEM

Data artist Josh Begley specializing in scraping images from publicly available sources. He then creates App and websites to publish the info and produce push notifications you can’t avoid.

For his project Prison Map, Begley took the GPS coordinates of every prison, jail and immigration detention center in America and fed them into a Google Maps API code he had modified. He ran the script and it spat out more than 5,300 satellite images — one for every locked facility in the U.S. The prison population in this country has grown 500% in the past 30 years. One in every one hundred adults is behind bars and most of them are poor people. The recurrent patterns of brutally functional architecture within Prison Map are staggering. We’ve been building prisons in high desert and rural backwaters. Begley makes the Prison Industrial Complex (PIC) visible once more.

Likewise, for his project Profiling Is, Begley snagged the NYPD’s surveillance shots of business and residences in the NY boroughs which were under monitoring.

He doesn’t stop there. Begley’s App MetaData alerts users to U.S. drone strikes in Pakistan, Yemen, Afghanistan and elsewhere. This didn’t happen until the conclusion of a merrigoround of negotiation with the “apolitical” Apple. Begley finally got his drone strike App approved when he removed all mention the word drone! Now, you can get next-day updates of Obama’s largely-ignored drone war on Afghanistan, Pakistan, and Yemen straight to your smartphone.

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© Mari Bastashevski

BEST USE OF PHOTOGRAPHY, MUCK-RAKING AND INVESTIGATIVE NOUS

Mari Bastashevski skirts a fine line between journalist, artist, researcher, photographer and tourist to dig up the personalities and money makers in the international arms trade. Here’s the feature I did for WIRED a while back. Her ongoing project State Business is devastating inasmuch it reveals how pervasive and complicit most nations are in making billions on the slaughter of humans.The US, the UK, Croatia, Azerbaijan, Georgia; Bastashevski’s following of the money takes us all over the place … sometimes even to the carport on the Facebook pages of international arms dealers.

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BEST MAKING SENSE OF SURVEILLANCE

If you can’t beat ‘em join ‘em. In 2002, after Hasan Elahi was mistaken for someone on the terror watch list and detained for hours at Detroit airport, he decided he’d save the authorities the bother and monitor himself. Caustic, direct, creepy and amusing, Elahi photographed everything he did, ate, shit, saw and worked on. He also GPS tracked his every move on a live web map. The project is titled Tracking Transcience. One of the by-products of the self-monitoring is the creation of a typology of toilets. Taking sousveillance to another level and entertaining thousands while he does it. Brill.

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© MigraZoom. A migrant on a cargo train traveling from Arriaga, Chiapas to Ixtepec, Oaxaca. After crossing the Mexican-Guatemalan border and traveling to Arriaga, migrants hitch a ride on top of cargo trains to Ixtepec. This trip takes about 12 hours. In addition to the risk of falling off the train (amputations and death are common), gangs frequently extort migrants, charging them $100 to ride. They face threats of being thrown off the train, kidnapped, raped or trafficked if they do not pay.

REALEST VIEWS OF IMMIGRATION

There’s some great fine art projects out there about the U.S./Mexican border. Probably, the stand out is David Taylor’s Working The Line, which documents the militarization of the border. But it can be criticised for being to distant and tends to rest on the creaking aesthetic mores of American landscape photography. If we want to see what is really going on during the tough journey’s into North America, we should pay attention to MigraZoom, a project by Spanish-born photographer Encarni Pindado which puts disposable cameras in the hands of economic migrants during their perilous treks northward.

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© David Taylor

Another beautifully shot and more unexpected treatment of new arrivals is Gabriele Stabile’s Refugee Hotel which documents approved asylum seekers’ first nights in America at four hotels adjacent to four hub airports through which new refugee migrants arrive. Respectful documentation that is pregnant with uncertainty.

Taylor’s work is currently on show at the amazing ‘Covert Operations’ at Scottsdale Museum of Contemporary Art.

BEST USE OF INTERNET FOR DISCUSSION

Photographer Hank Willis Thomas is a prolific force. One of his most recent projects Question Bridge is a platform for black males to ask other black males questions about black identity. Participants do so through video and provide answers similarly. Access is easy, involvement free, connections priceless and it works well in exhibition format too. The murder of Michael Brown in Ferguson is the latest incident to demonstrate to the entire nation our shared need to face racial inequality int he country. Willis Thomas is doing his bit.

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© Lindsay Lochman and Barbara Ciurej

BEST COMMENTARY ON MECHANICAL AGE FOOD PRODUCTION

With Ag Gag laws becoming ever more common, clever responses to imaging industrial food production must be inventive. Lindsay Lochman & Barbara Ciurej rip on the much-mythologized West and specifically on the hero-worship of Carleton Watkins by constructing sugar-coated and corn-fed diorama reconstruction of Watkins’ landscapes with shitty foodstuffs.

Will Potter ain’t a photographer but he’s putting imagery to good ends. Potter, a TED Fellow, has been reporting on the crack down on environmental activists under homeland security legislation that was designed to tackle terrorist. Instead of chasing bombchuckers, our law enforcement is going after tree huggers. The title of Potter’s book, Green Is The New Red, say its all. Routinely, it has been eco-activists who’ve brought us the shocking footage from inside factory farms. Potter, continuing the tradition of expose, wants to fly drones over feedlots and take advantage of laws being slow to be written. Again, we seeing the convergence of technologies and activist peel back the layers of obscurity purposefully put over our shady business practices in years past.

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© Donna Ferrato

VIOLENCE AGAINST WOMEN

The greatest photography work being done to reveal the entrapped, terrorized lives of those victim to domestic violence, is done — perhaps not unsurprisingly by female photographers. Donna Ferrato has trained a lens on the topic for decades. Recently, young gun Sara Naomi Lewkowicz captured similar images to Ferrato as an intimate witness to partner abuse. The parallels were saddening proving that this is a strand of violent psychology we just are not dealing with effectively. To be frank, the issue isn’t being imaged enough; intimate partner abuse remains hidden behind closed doors.

Paula Bronstein was one of the earliest and most direct photographers to document the survivors of acid attacks in Asia. If we’re to mention women’s rights abroad we have to look at the work of Stephanie Sinclair, whose multiyear project Too Young To Wed is pitch perfect. Quiet, weighty, tragic and polychrome portraits of child brides throughout the world. Sinclair’s had help from all the major distributors and grant makers to cast the net of her survey far and wide. The transmedia project is about as good as it gets in terms of audience engagement tactics too.

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© Jim Goldberg

BEST COMMENTS ON WEALTH INEQUALITY

It’s difficult to name a stand out photographer who has taken on the wealth gap in a resonant way. It sounds strange to say but maybe cash is difficult to shoot? This apparent lack is consistent with other art forms though. If Occupy taught us one thing, some issues are designed for public performance, demonstration, walking and protest signs. Think of music, for comparison. In the sixties musicians such as Joe Strummer and Nina Simone emerged with brilliant anger toward social injustice. Despite public disgust made visible in anti-Iraq-war protests and Occupy, there’s not a protest song from the 21st century of note. Perhaps music isn’t the format for anger or the wealth gap either?

Don’t worry, I’m not being a pessimist here. Violent dismay certainly exists. I’m just not convinced art is the realm where we see the most direct political action. Gone are the days of the great labor photographers such as Lewis Hine and Jacob Riis. Inequality was laid bare in the photojournalism of the civil rights era (Ernest Cole, Charles Moore, Danny Lyon) and while those reportages were about money and opportunity they weren’t primarily about the markets. Check out the work of Gregory Halpern for your modern day Milton Rogovin.

The most indelible and forthright description of wealth inequality is Jim Goldberg’s Rich and Poor, which remains the high point and the tone at which aspiring photographers should aim.

Dang, that’s been a lot of men’s names. I think it right to end with LaToya Ruby Frazier’s name then. She, better than anyone currently making work, ties together class, race, income, post-industrial America, public health, personal health, family and environmental hazard with her generational survey of the women in her family and her home town of Braddock, PA, in The Notion OF Family.

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© La Toya Ruby Frazier

 

ADPSR

I’ve wondered before where all the photographs of solitary are. This question presupposes that the American public’s exposure to the inside of these modern dungeons will spur a degree of enlightenment, consternation and protest.

Putting the veracity of that string of causality aside for a moment, it might be worth saying that photographs are perhaps not necessary to stir emotional and political response. Maybe sketches can do these things as well, or better?

An opportunity to discuss this will arise in the next few weeks at the UC Berkeley’s Wurster Hall Gallery, in the College of Environmental Design.

Architects/Designers/Planners for Social Responsibility (ADPSR) present “Sentenced: Architecture and Human Rights,” an exhibit about the architecture of incarceration featuring drawings of solitary confinement cells by people currently being held inside.

In addition, rarely seen designs for execution chambers built in the U.S. and photographs by Richard Ross will be on show.

“Sentenced: Architecture and Human Rights,” highlights problematic and little-known spaces within United States prisons and detention centers that house activities deemed to violate human rights. What do these spaces have to teach us about the state of freedom in America?

The exhibit is free and open to the public M-F 10-5 until Nov. 21st, and the opening reception is this Tuesday, October 14th from 6-8pm, at which author Sarah Shourd, Professor Jill Stoner, and architect John MacAllister will be in attendance.

Here’s the announcement and here’s the Facebook event page.

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He went back every year for four years. Between 2007-2010, photojournalist Louie Palu made six trips to Guantanamo. Not quite a compulsion, but more of a requirement, Palu had to go. He’d photographed in Afghanistan and it made sense that he’d take  opportunities to document America’s chosen *homeland* site for its Global War On Terror (GWOT). Guantanamo is another piece in the puzzling puzzle of war against an expanding list of enemies. It is more contained and less flash-bang than any theater of war, but no less violent. Inside Gitmo, coercion and so-called Enhanced Interrogation Techniques do the damage, replacing mortars and EIDs.

Why did Palu go? We know Guantanamo is so controlled that a photographer’s work is compromised. And yet, he returned time and time again. Perhaps he though he’d be the one reporter who’d see the nugget, catch the frame and get out of there with the shot? Not so. After every visit, all photographers are required to hand over their DSLRs. A member of the Joint Task Force will look over all images and delete any that don’t meet military rules. The photographer is given forms with each digital file number listed individually. The procedure is called an “Operational Security Review.”

Palu’s latest publication GUANTANAMO: Operational Security Review is a 24-page conceptual newsprint publication. It combines his Gitmo images with scans of the official forms. It is available at Photoeye Books.

GUANTANAMO: Operational Security Review is abstract, elusive and slippery … which I think is the point. I asked Palu a few questions about it.

Scroll down for our Q&A

[Click any image to see it larger]

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Q&A

Prison Photography (PP): Why did you ever want to go to Guantanamo?

Louie Palu (LP): The detention center at Guantanamo Bay is one of the most infamous results of the “War on Terror” — the most internationally known detention facility of our time. I’ve always been interested in the relationship between history, political events and the human experience. Especially, I am engaged by events or issues that define our time politically.

9-11 and Guantanamo will forever be connected. I am also fascinated by the legal and morale paradox that Gitmo, as it is known, represents in the face of the U.S. Constitution with regards to detaining people indefinitely without trial.

PP: You went many times. Why stop?

LP: Relatively speaking the access went from good, to getting better, to very poor and finally I gave up. I follow Carole Rosenberg’s reporting in the Miami Herald, she is perhaps the best source of reporting on Gitmo there is.

PP: She recently spoke at Columbia Journalism School about her professional experience covering Guantanamo. I follow Rosenberg on Twitter too.

LP: In a recent report she did, it seems the current military public affairs unit there has become exceptionally difficult to work with. I would like to go again, but it looks impossible to work there right now.

Normally each trip lasts four-days.

Day 1: Fly in and get settled. Day 2: Tour various parts of the detention center. At the end of each day everyone goes through what’s called an “Operational Security Review”, also known as an OPSEC Review. In my case as a photographer this involves the deleting of certain photographs right off my memory cards. Basically anything that reveals security features of the prison or direct frontal views of the detainees faces is deleted. Day 3: More touring the facility and more photography and one more OPSEC Review. Day 4. Fly home.

I did do two special photo tours years ago. Most tours have writers as part of the tour group and you can spend hours in areas of no interest to photographers. One of these special photo tours in particular was I think the best access ever for a civilian photojournalist. I think I hold the record for longest OPSEC Review ever, it was an all-nighter! I don’t think they’ll give a tour like that ever again and a number of areas in the prison are now closed and access to the detainees is very limited and basically everyone gets the same photographs now.

PP: You’re a wisened, experienced photojournalist. What did you expect from Gitmo? What did you get?

LP: I try not to expect anything from any assignment, subject or project except that I will do my best and that I am personally engaged in the subject matter. Beyond that, I hoped to make pictures that would last as documents to an important subject in our history.

I think that the manner in which we are forced to take pictures with extreme control should be a part of the history. The control on how I took pictures and the limited access made the images and approach unique. That is what my concept newspaper is partly about.

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PP: We’ve stopped taking about Guantanamo ever since we realized Obama couldn’t/wouldn’t close it down. Why is that? Where does it leave your work?

LP: When you say “we” I would take that as mostly the general public, many journalists keep talking about Gitmo and it’s impact and implications. Though relatively speaking I agree people seem to have disengaged from the issue.

However, we have to understand that Guantanamo Bay is a recruiting poster for many extremists and terrorists and it will continue to be especially while it is open. Take for example the video ISIS (aka ISIL, IS) made of journalists they are executing in Iraq/Syria. The journalists are on their knees in orange jumpsuits. In my mind it’s a copy of the same imagery of the first images released by the U.S. government of detainees in Guantanamo in orange jumpsuits right after 9/11. The image the detention center at Guantanamo Bay paints of America goes against every value the United States stands for in my opinion. So long as the detention center at Guantanamo remains open and the detainees are not given a trial, the United States will have a hard time holding any moral high ground on human rights. It makes it a very serious issue to continue to try and find a solution to. If I interest only a handful of people to keep talking about it I did my job.

The reason I think that we stopped talking about Gitmo is also limited access to the detainees by journalists being one reason and right now there is no shortage wars and disasters of all kinds to deal with, plenty of “fog of war” to keep us off the issue that challenges one of the core value systems of the United States, which is the constitution.

The eyes of history will judge my work years from now. For now, I am satisfied to have published the work and kept the issue in the public’s eye, no matter how small a contribution I have made. From the point of view of a photojournalist the newspaper is a part of that.

PP: Briefly, tell us about your decision to go with a newspaper format to publish the work from Guantanamo.

LP: Well, I had a fellowship with a think tank in Washington DC called the New America Foundation, which involved covering the Mexican drug war. I created a concept newspaper called Mira Mexico. I created it so you could take it apart and re-edit the order of the pictures and also hang it as an exhibition. It was meant to directly engage the viewer to understand how our images are controlled by governments and the media. It’s about the manipulation and our perception of an issue. It’s explained in this video.

Creating an object as something that goes beyond the news cycle is important to continue to engage the public in on important issues. The newspaper format is important in challenging not only traditional formats of news, but also the manner in which we consume information and the platforms we see them in. You can also hang it as an exhibition as each spread is a poster and you can turn it into an educational lesson in editing or controlling pictures. GUANTANAMO Operational Security Review is the part two to my first concept newspaper on Mexico. I am also making a statement in making a newspaper in which the only content is Guantanamo Bay. No advertising or competing content. I edited out every other story.

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PP: What do you hope people take away from GUANTANAMO Operational Security Review?

LP: Well the project has a two-fold purpose. One, obviously it is meant as an artist’s concept fused with journalism to continue to engage the public in a dialogue on the issue. Second, it is meant to challenge the modes in which we are delivered our content and who the gate-keepers are to our news. We need to always ask, who are the editors, curators and or censors we don’t see or ask enough about that shape the way we understand the world through photographs?

I am about to go on a workshop/lecture tour through universities in Canada and the U.S. just as I did with the Mira Mexico newspaper. I’ll be using GUANTANAMO Operational Security Review in classes teaching visual literacy to students. It will be a workshop format where students will each have a copy of the newspaper and re-edit and present to the class why they selected the images they did on Guantanamo. I think empowering young minds to understand how their opinions are manipulated by the use or misuse of photographs is critical to our future.

PP: How does GUANTANAMO Operational Security Review relate to your other bodies of work and areas of interest?

LP: I try to create multi-platform uses for my work and always engage a topic over a long period of time, and usually beyond any news-cycle. My average project lasts between 3-5 years. My first one lasted 15-years. But that won’t happen again!

PP: You must have looked at plenty of other photographer’s work on Gitmo. Who else has done it well?

LP: Actually, I haven’t! I have seen a handful of wire photos from there that are not my style of work, but gives a base of understanding of how news photographers have had to work there. I also have seen numerous art based documentary photographers do bodies of work there, in the end they have all taken many of the same photographs because of the strict control over access. I don’t think anyone has done it “well” including myself since the access is so controlled and photos are deleted. There are sections of the newspaper that deals directly with that issue — the *age of extreme image control* is one of the main layers of meaning in the newspaper. The newspaper is, an object and document that says my access and images were controlled on this issue.

I can’t show you how Guantanmo really is. However, with the newspaper maybe I can show you how it was for me. That is why I created it.

PP: Have you any thoughts (regarding visibility, perhaps?) about how Guantanamo relates to America’s extrajudicial prisons around the globe?

LP: Digital photography is a blessing and a curse. Media campaigns and disinformation operations are easier now than ever. The newspaper is also about photojournalism. You know photojournalists control what we see as well, editing can be seen as censorship by some media critics.

Let me explain, it’s about interpretation of what we are doing, right? If I take 1000 photographs on assignment and I edit only 15 for you to see, what do you call that editing or censorship? This newspaper questions photojournalism as a whole and everyone involved in it including me.

PP: How will Guantanamo end?

LP: I don’t know how Guantanamo will end. Even if it does end as a physical structure, it has become visually symbolic for extremists, they have turned government released visuals linked to the detention center into a disturbing propaganda tool. Events and places like the detention center at Gitmo are never looked at very kindly through the eyes of history.

PP: Thanks, Louie.

LP: Thank you, Pete.

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At first glance, the image above looks like the usual press photograph of a suspect accompanied to the stand, being escorted between holding cells and a courtroom. Alternatively, it could be a scene from inside a jail. Jumpsuit, shackles and guards are glaring visual clues and we think we know what we are seeing. But, in most cases we don’t. And in this case were aren’t. This is a photo from the set of the in-production web series wHole, for which filming began last month at the vacant Wapato Jail in Portland, Oregon.

wHole, made by Think Ten Media and directed by Ramon Hamilton (who is actually to the left in this picture) aims to raise awareness about the sensory deprivation and widespread use of solitary confinement in American today. The limited information this fictional scene provides us is akin to the limited visual information available to us generally of solitary confinement in America’s prisons. (Aside of photography, we must recognise there is currently a good swell of great advocacy journalism about solitary, not least by Solitary Watch).

Even though Wapato was designed as a medium-level-security county jail. Think Ten Media thought it a worthy location for depicting Supermax facilities. wHole might be the only good thing to come out of this waste of space and money.

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In 1996, the taxpayers of Multnomah County (Portland, Oregon) approved a bond measure to build a 168,420-square-foot, 525-bed jail back, but county leaders never set aside money to open and operate it. Construction was completed ten years ago at a total cost of $58M. Wapato was a bad idea to start with, but changes in legislation and a drop in crime proved it a terrible idea. The jail never went into operation. Don’t get me wrong, it is a good thing that no-one has been locked up at Wapato, but it is a terrible thing that it was built in the first place. What could have that $58M (plus the $3M of tax payers money spent over the past decade to merely to maintain the place) achieved in terms of rehabilitation, jobs training and addiction treatment?

Last year, sensible suggestions such as repurposing the jail as a drug rehab center, a homeless shelter or a community center were invoked but didn’t develop. More recently, the county made concerted efforts to sell the jail and get it off the books. In a typical Portlandish well-meaning, transparent but somewhat comic and farce-like public relations stutter, the county called for proposals from companies and citizens alike and then promptly rejected them. The proposals? Some people wanted to make a community garden for at-risk youth, other a prison for international war criminals. A TV production company wanted to make a reality TV show and a private prison firm wanted to use it and use it for you can guess what.

There has been a persistent myth in Portland that Wapato sat empty and was never used for any type of revenue raising, including the exploitation of opportunities presented by the many production companies wanting to film at Wapato. That’s simply not true. Maybe, more filming and more money could’ve been supported, yet, speculation aside and to date, wHole is the 32nd project filmed there int he past 6 years.

That wHole is about mass incarceration makes it, in my book, the most worthy of projects. When the nearly two-month-long California Prisoner Hunger Strike kicked off in the summers of 2011 and 2013, filmmakers Ramon Hamilton and Jennifer Fischer knew they wanted to make a project about solitary. wHole is intended to be “raw and real.”

The locals are excited about the future impact of wHole, which is a far cry from Orange is the New Black. While no mainstream TV show has depicted prisoners so sympathetically, Orange Is The New Black carries its fictional aspects and as such doesn’t reflect reality.

I wanted to know more about how you get into a jail to film and so asked Jennifer Fischer, Think Ten Media co-founder, a few questions.

Scroll down for our Q&A and then further still for more information on the project.

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Q & A

Prison Photography (PP): How many vacant jails or prisons are there in the U.S. in which to make feature films or TV series?

Jennifer Fischer (JF): I am not sure. I know Fred C. Nelles Youth Correctional Facility is used often for filming by productions in the Los Angeles Area. I believe Hancock shot there, and there’s lots going on with it right now.

PP: Why did you choose Wapato?

JF: There was really nothing like Wapato Jail that was reasonable in terms of cost. There is a facility in New Jersey I recall Five mentioning to me. I lost all of my research notes about prison locations when my hard drive crashed recently!

We looked into shooting at Nelles and at other locations, but all were prohibitively expensive for our project being made on a limited budget. There were other challenges, such as no running water or electricity, the requirement of a water truck on site.

Some active prisons and jails are often used for filming! But with these locations, if they need the cell you are shooting in, you get booted. At Wapato we’d have access to the entire facility.

PP: How was the process to secure use of the facility?

To secure the facility, we had to speak with Mark Gustafson, who is the property manager. He had a few questions, but the process was really pretty simple. The important thing was getting the correct insurance. Here’s the county’s property management webpage for Wapato jail.

PP: Were the rates reasonable?

JF: Yes, the rates are quite reasonable, basically covering the cost to operate — security guard on site, opening and closing of the facility and any janitorial costs incurred from our use.

In fact, we initially went up to Portland because of the [relatively low] cost of the facility. Before we went we were still considering building a cell somewhere in L.A. when the whole series was greenlit.

However, given how wonderful and support everyone in Portland was and how professional the local cast and crew were, we are now absolutely committed to being back in Portland at Wapato to shoot the entire show.

Scroll down for more info on the web series and links to production photos.

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Filming the filmers.

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A cell doubles as a make-up room.

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Filming inside a cell.

INTIMATE EXPERTISE

wHole draws on the intimate knowledge of two people who have been incarcerated.

Actor William Brown plays the protagonist in wHole. He has served time in prison. Fischer and Hamilton connected with Brown through Deborah Tobola who runs the Poetic Justice Project, a theater program in California for individuals who have been incarcerated. Tobola and Brown worked together when he was in prison in a program called Arts in Corrections.

Five Mualimmak is a co-producer for the project. Mualimmak also spent time in solitary confinement, 5 years, before he was exonerated. Mualimmak works with the Campaign to End the New Jim Crow and is the Executive Director of the Incarcerated Nation Campaign.

“As I wrote the screenplay, I was in touch with Five throughout,” explains Hamilton who is the series writer and director. “I want to make sure that viewers get a real sense of what it is like for a person to live in complete isolation for years.”

Mualimmak wrote about Solitary confinement’s “invisible scars” for the Guardian.

SET PHOTOGRAPHS

In chatting with Fischer, one of the intriguing resources she pointed me toward was the set photography for wHole. I’ve included some of my preferred shots thorughout this post.

View images from day one, day two, day three and day four. Perhaps most interesting are photos made by crew of the facility’s control room, surveillance systems and control boards.

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Five Mualimmak, who spent 5 years of his 12 prison term in solitary confinement, before being exonerated is co-producer on wHole. Above, he plays a prison guard.

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Lunch on set

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Looks depressingly accurate.

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On set.

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Downloading the day’s footage in the control room.

COLLABORATION

wHole was made in partnership with American Civil Liberties Union, Amnesty International, the American Friends Service Committee, the National Religious Campaign Against Torture, the United Methodist Church General Board of Church and Society, the Campaign to End the New Jim Crow, Incarcerated Nation Campaign, the Media Change Makers (of the University of Texas-El Paso), SendAPackage.Com, Broken On All Sides, Jail Action Coalition New York City, The Bronx Defenders.

Additionally, Academy Award-Winning Producer Jonathan Sanger is an Executive Producer for the project and Dr. Arvind Singhal is the Entertainment Education Specialist for the project.

In Portland, specifically, the assistance of Jan Elfers, Public Policy Director at Ecumenical Ministries of Oregon, and Shannon Wright, Deputy Director of the Partnership for Safety and Justice was crucial.

IMAGE USE

All images courtesy of Think Ten Media and William Meeker.

EMAIL

prisonphotography [at] gmail [dot] com

@BROOKPETE ON TWITTER

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