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Prison Photography (PP): You use Twitter.
Ashley Gilbertson (AG): I initially got on Twitter because I found Facebook pretty boring. It was turning into people’s family photo albums, which is fine, but …
Twitter was a place that I was getting breaking news from. Not always correct but sources on the ground. That for me was very effective in terms of looking at primary sources and things as they developed. I still go to a few news sites, but I am getting my breaking news from Twitter. It sounds ridiculous, but I do.
I use Twitter for conversations and ideas too. I come across stories. Somebody can tweet something that sets the wheels turning in my head that can turn into a story idea. If I don’t want to cover it then I’ll retweet it and say this is potentially a good story idea. I try to share in this creative process.
PP: You use Instagram.
AG: I joined Instagram because VII started an account and I thought I’d be a team player. I keep trying but it’s not really my thing. My digital photographs suck and so therefore my iPhone photographs are freaking terrible.
I took a picture of a dead rat I came across on the street, posted it and suggested I might do a series on roadkill and make a book. I’m trying to take the piss a little bit but no-one really gets it. Someone contacted me and said, “I hate to tell you Ash, but someone has already done that.”
I present certain photographs to the world that are very carefully edited and all of a sudden I’m making photographs on the fly and they’re bad! That’s got to hurt my reputation!
I love taking pictures of my wife and son but they are for me.
PP: I don’t want to know about your heroes, I want to know about how you think is making good work right now.
AG: I think Seamus Murphy is doing some really great stuff with multimedia – he takes unusual approaches that I thoroughly enjoy.
I love Peter van Agtmael. Peter’s a thinker. His work is very emotional, really textural, really beautiful and I think Peter is turning into one of the best photographs that we have out there working today. I have a lot of respect for his approach.
Todd Heisler. Reading the New York Times, his pictures just stand on their own. I like being able to look at a paper and know who the photographer is – “It’s Todd. He nailed it again.”
I like Mishka Henner‘s approach to the medium, I like his execution of ideas, and I like his defense of the work. That to me is the complete package. I’ve argued about Henner’s work without him in the room. One person was calling him a photographer, I was calling him a curator, and we realized it didn’t matter. Call him what you fucking want. Henner’s just interesting. Period.
I like people who are pushing the medium. While I have a hell of a lot of respect for traditional photography, I don’t see the need for ten photographers to all shoot the same scene in this reportage manner. I’d rather see three photographers, say from the New York Times, LA Times and Wall Street Journal [do straight shooting] and see the other seven trying to connect with an audience in a different manner.
PP: Cell phones?
The iPhone debate has legs. Cell phone photography is not that boring. It’s the first time photojournalists have ever let themselves go, stylistically. We’re not confined to having to reproduce colours in exactly the way that we see them or not add certain elements of light, sun-flares or whatever it is.
The problem with the conversation [about style and filters] is that it is so often talked about in a defensive manner.
PP: People start by defending the ethics of cell phone photography?
AG: Yes. And, of course it’s totally ethical. Rather they should start with, “Obviously, it is very different to how I shoot on a Canon 5D; it’s a totally different approach with a totally different understanding.”
It doesn’t bother me that photojournalism is loosening up.
PP: For the longest time, a mythos has surrounded anointed photojournalists. They’ve been treated as gods, if you like. But, with the rise Instagram – which is, paradoxically, considered a platform for navel gazing narcissism – famous photojournalists have become more familiar, less godlike.
AG: We’re from a new generation. The photographers I knew growing up were either dead or very mysterious. I remember picking through magazines and trying to find little scraps of information about Ron Haviv or James Nachtwey and these giants in the industry. They were so mysterious it was almost part of the allure. They’re not the story; they’re behind the camera and they are not there to talk about themselves, they were there to talk about their subjects and that to me was very effective.
But now, I realize that to reach the widest possible audience you often have to engage yourself in the production of the story. I need to explain how it was meeting hundreds of families who had lost a son or a daughter to the war. I think that adds to the story and to people’s compassion for the subject. But, it doesn’t sit well with me. It might look like it does because I am so open to it, but still I wonder if I should shut my mouth, close down all my social media, and just get on with photography.
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Image by Ash Gilbertson, from his Instagram feed, a rat I think, sometime in late Summer, somewhere, accompanied by the caption, ‘Tyre Tracks!’
August 31, 2010 in Opinion | Tags: Aaron Huey, Anthony Suau, Billboard Project, Carolyn Drake, Dominic Nahr, Emphas.is, Flattr, Jan Grarup, Jerome Sessini, Kadir van Lohuizen, Kickstarter, media, Michael Kamber, Philip Blenkinsop, social media, Spot.Us, Teru Kuwayama, Tomas Van Houtryve | 5 comments
©Aaron Huey Source: http://www.emphas.is/home.html
I just watched a great independent documentary about PsychOps and their widespread use in consumer propaganda. It is no surprise that empire is built on mind-plays upon the populace with regard their daily choices as it is on the mind-plays upon the same populace to sell its military invasions and murder during time of war invasion & occupation in foreign lands.
MEDIA & CONTROL
It’s still too early in the new media game to see if power really can be wrenched from big media – partakers in the psych-ops – and put into hands of the little guys. (And, this is not to suggest that the little guys will make better decisions, but it’d be a shift for sure). But, in terms of media and the stories we want told, can we imagine a media landscape over which we have more control?
We can feed photojournalism directly, if we only imagine ourselves as being in power.
Two tools have come to light this past week which seem feasible.
The first, Flattr, is a web-app which allows the user/recipient (note, I shied from the term ‘consumer’!) to express instant gratitude and give money to the producer of content. Flattr is built into the infrastructure of the web and applies to any and all content, not just photographer and not just journalism.
The second, Emphas.is, pertains specifically to photojournalism. If we are sick of celebrity pap filling our screens should we not be chomping at the bit for a model of production/consumption that is advertisement free and hands us some agency?
WHERE TO PLACE THE EMPHAS.IS
Emphas.is is well aware of the success of the crowd-funded model in other areas of journalism. It seems, in my opinion, to be modeling itself on Spot.Us, progressing the format and making specific its use. I know that the widespread incorporation of the platform – and even the code of the site! – were things that Spot.Us founder Dave Cohn had in mind from the start. Adopt and fine-tune for the benefit of crowd-funded media.
Spot.Us was open to photojournalist pitches, but the platform diluted the impact of PJ work amidst all its other journalistic efforts. It seems like the photo-community would be more secure if it knew it had a place to call its own. In Emphas.is it now does.
Also, in its early stages, Spot.Us necessarily focused regionally, sprouting steadily across US metropolitan regions. Emphas.is looks to have a more global view – which is only right; times and expectations of new media have changed, grown up.
Kickstarter too has served many photographers well, but its reach is even wider than Spot.Us serving mainly creatives.
So, for me at least, Emphas.is seems to fall between Spot.Us and Kickstarter
Emphas.is has an impressive list of endorsements from photo-editors and photographers (Philip Blenkinsop, Carolyn Drake, Jan Grarup, Michael Kamber, Teru Kuwayama, Dominic Nahr, Jerome Sessini, Anthony Suau, Tomas van Houtryve, Kadir van Lohuizen).
Emphas.is is the brainchild of photo editor Tina Ahrens and photojournalist Karim Ben Khelifa.
Emphas.is is set to launch early 2011. I think we should start saving our pennies for the first round of pitches.