“Prison Polaroids: A Dispersed Portrait of American Life”

I was speaking to Sheila Pinkel recently about photography within prisons. She said only once had she been inside a prison with a camera of her own. We shared wonder at those photojournalists who through luck or nous gain access within US sites of incarceration.

Sheila explained that photography was conducted in the visiting rooms. Standard practice is for a correctional officer or fellow inmate to operate a Polaroid camera and sell the Polaroids at $2 each.

Imagine those Polaroids gathered together and the dialogue they’d rouse as a collection. But this portrayal of America is dispersed, and its dialogue is absent.

Susanville

Susanville

Susanville

Susanville

Dr Maria Kefalas, Assistant Professor of Sociology at the University of Chicago noted the collection and display of Prison Polaroids in Promises I Can Keep, a book about mothers’ poverty in the US:

In the course of Kefalas’s fieldwork she was invited into more than a dozen living rooms that displayed a “Prison Polaroid”, sometimes held to the wall by a thumbtack or tucked into a framed family portrait on the television set. Prisoners, she learned, can have these taken for only (sic) a few dollars at the prison commissary and usually pen cheerful descriptions such as “Happy Birthday” or “I love you” on the back. When family members come to visit, the commissary photographer will, for a fee, commemorate the occasion with a keepsake Polaroid. One mother showed Kefalas a photo album of Polaroid photographs taken in the prisons’ visiting area  – each commemorating one of the few times her daughter and her child’s father had been in the same room together over the course of the six years old’s life. the photos typically feature the inmate in his fluorescent orange department of corrections jumpsuit against a backdrop of a tropical beach scene, perhaps to give the illusion to the loved ones back home that their father is not in prison, but taking a much needed vacation.

San Quentin

San Quentin

San Quentin

San Quentin

After some digging I found this account:

In the processing room there is an inmate store where one can buy articles made by inmates and also buy these cards for $2, good for a snapshot of you and your friend taken in front of this large poster of a waterfall in the woods. I got one of these cards and when my friend and I went to get our picture taken I asked if we could have the dining room and everybody in it in the background. This was a big no-no, as people might be recognized in the photo. I didn’t know. We had our picture taken by an inmate with a Polaroid camera who later passed out the photos to the different tables. It turned out real nice.

San Quentin

San Quentin

Visitors are prohibited from bringing their own cameras or phones to the majority of US correctional facilities. Frequently the visitor buys two, one for the mantelpiece at home and one to return to the inmates cell. But there is no negative – just as there is no album. The Polaroids are dispersed across a nation. I think it would be fascinating to such Polaroids together.

Santa with VVGSQ members and supporters. San Quentin Prison visiting room - December 18, 2005. The VVGSQ has always supported the San Quentin Christmas Toy Program with toy donations as well as by running the program each year. The Warden has authorized the VVGSQ to sponsor this program and the group purchased the "Santa" suit, beard and wig that is used for an appearance of Santa to the children each year at the visiting room. The program benefits all the children who come to visit family at San Quentin during the Christmas season. Started in 1988, December 2008 will be the 20th year the program has been giving toys to the children who visit San Quentin.

Santa with VVGSQ members and supporters. San Quentin Prison visiting room - December 18, 2005. The VVGSQ has always supported the San Quentin Christmas Toy Program with toy donations as well as by running the program each year. The Warden has authorized the VVGSQ to sponsor this program and the group purchased the "Santa" suit, beard and wig that is used for an appearance of Santa to the children each year at the visiting room. The program benefits all the children who come to visit family at San Quentin during the Christmas season. Started in 1988, December 2008 will be the 20th year the program has been giving toys to the children who visit San Quentin.

In piecing together this online group of images, I found it difficult to come across images. This does not surprise me.

In what circumstances do people scan their Polaroids of a prison visit for online upload? Just a few; friends & family with blog updates; purveyors of the macabre; journals of the death-row inamtes; inmate support groups and children’s rights organisations.

Please alert me to any other sources.

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This is not a Polaroid but it is an image I came across here, with the enlarged image here. I had to include it. I challenge readers to find a better photographic portrait. The adult fights back tears and the child is solemn. Standing for the photo – for pride and for necessity – is a struggle for the father. The personalities are so strong, I wonder what words they have spoken to one another. Surely, the father’s outward show of emotion is typical of the sadness adults bear when behind bars, away from their children. I have no children. I can’t begin to know, even by comparison. These two portraits would excel as individual shots; to put them together is to light a firecracker under the seat of emotive curiosity.

Father and Son

Father and Son

I also found this image on Flickr, which has a stark backdrop by comparison.

Jail Visit?

Jail Visit?

Thoughts?

How about that as a potent exhibition just waiting to come together? Millions of Prison Polaroids in frames & drawers; homes & cells across America. The dispersed portrait of incarcerated Americans could be assembled in one place. The scale would be overwhelming and the juxtapositions endless. Let me know if the notion intrigues you as much as it intrigues me.

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Hailey, 2, reaches out for a quarter in her fathers hand, Shane Macleod, while her mother Danielle Macleod stares out from the table. Each visitor is allowed to bring $20 of quarters for the vending machine and nothing else. Shane, like all of the inmates in the visiting room must ask his wife and daughter to buy certain snacks, as he is not allowed near the vending machines. During the visits, Shane says, “There is just not a lot to talk about after a while, you can only beat a subject to death for so long.” The couple married four years ago outside of prison, and Shane says, “Prison just really messes up your life.”

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Hailey Macleod, 2, look outs across the table at her father, Shane Macleod, and his outstretched hand. Shane was incarcerated two months prior for bank robbery. Shane says. “It gets really stressful sometimes, to have my wife and daughter away from me.”

Elyse Butler repeat-visited New Hampshire State Prison in 2005. She was working as an intern staff photographer at the Concord Monitor in Concord, New Hampshire. The goal of the assignment was to capture the dynamics of relationships in the prison visiting room. Butler documented the behaviours of those within the room; “how these couples, families, and friends interact with each other when they have only a small amount of monitored time to spend together.” I asked a couple of questions.

How did you get access?

In order to get access into the prison we [Concord Monitor] had to contact the PR department and go through a process of paperwork and I had prison officers watching me at all times when I was in the visiting room.

What reactions did the work receive?

After the piece was done we got a great reaction from inmates and families in the visiting room. They were touched to have their time documented with their loved ones.

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Heather Metcalf and Mark Vangordon hold hands at table 19 in the visiting room of New Hampshire State Prison. Vangordon is imprisoned for sexual assault and has been in the for a year. Metcalf says, “Not having him home is the hardest part.” When she is not visiting she waits for his letters to hear how he’s doing. During a visit, they are only allowed to have a 15 second embrace at the beginning and end of each visit and otherwise they are only allowed to hold hands above the table.

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Lori Tasney and Chris Lang look into each others eyes as Marilyn and Daniel Haldeman hold each other at the end of a visit. Tasney and Lang have been dating for two years and plan to marry when he gets out. His current parole date is set for 2008. Lang was imprisoned for robbery in January 2005. Tasney visits twice a week, which is the most time any inmate is allowed visitors, but says “I would visit every day if I could.”

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Mark Langlais plays cards with his brother, inmate Alphee Langlais (right) and his son, inmate Eric Langlias (left) while a mother gives her son one last touch at the end of a visit. This is the first time Alphee and Mark have seen each other since 1996. Mark claims, “Alphee’s been in here since his hair lost its color.” The family was estranged a long time ago, but they claim prison has brought them closer together. Eric was admitted for assault and Alphee was admitted on a parole violation following a prior sexual assault crime. Alphee carries around his inmate request slip as if its a trophy and cried when he finally spoke on the phone with his brother Mark. “This visit has been really special to me, ” Alphee claimed. Eric and his father always fought but no that he is on medication and his father is in counseling, Eric says “it is the closest we’ve ever been … I have always loved my father. I have always wanted him around.”

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An inmate and his visitor share a last kiss and 15 second embrace, along with three other couples also saying their goodbyes, at the end of a visit. They started dating 5 months ago, only a month before he went to prison, and she says, “If he ends up having a long sentence, we probably won’t stay together.” He was admitted on a parole violation after an original conviction for multiple robberies and larceny. She says, “I come usually once a week. I hate coming here.”

Biography

Elyse Butler is represented by Aevum Photos. She is one of the hardest working and posting photographers in the business. She previously won College Photographer of the Year Award in 2004 for her documents of the porn industry. She has also photographed the debutante activity of La Jolla. I’d like to hear an interview between Butler, Lauren Greenfield and Wendy Marijnissen on the topic of female identity.

Butler did some nice portraiture in South America, but my favourite project of hers is “From Pond to Purse” which follows the trade of alligator products. Be sure to read Butler’s information on the project at her site in the ‘passion’ category.

James Estrin for the New York Times

James Estrin for the New York Times

Jeffrey Deskovic was imprisoned for 16 years for a rape and murder he did not commit. The New York Times produced this sobering slideshow of his first year outside prison.

James Estrin for the New York Times

James Estrin for the New York Times

Two things in Deskovic’s story stood out. First of all, I was struck by the everyday practices and processes he lists as doing for the first time – cooking his own breakfast; opening and closing the window, keeping his own hours, shopping, even driving “represents power and freedom”; using the internet; using a cell phone (“I asked where the holes were to talk into”); first day at college; and swimming. “The water felt heavy” was Deskovic’s summary. It had been so long his body was not used to it.

James Estrin for the New York Times

James Estrin for the New York Times

The second thing that struck me was how alone Deskovic was. He admitted to low points, thinking about taking his own life, wondering if it was a dream. Most tragic was his nagging feelings that he has somehow slipped through the cracks and that a twist of fate landed him on the outside. He is struggling and wonders whether he will be a ‘prisoner’ all his life. His institutional life has seeped into his psyche it seems.

James Estrin for the New York Times

James Estrin for the New York Times

These revelations are most shocking to me because Deskovic looks so well equipped to deal with his new life. He is an advocate for overturning wrongful convictions, he works with the press diligently, he feels “at his best” when he is making a presentation or talk. And yet, he is still waiting for the gradual process of a “normal-life”, including a trusting partner, to become him.

Jeffrey Deskovic addresses the press. James Estrin for the New York Times

Jeffrey Deskovic addresses the press. James Estrin for the New York Times

Jeffrey Deskovic admitted to a small smile when he first spoke to the press following his release, because “they knew what I had always known”. I would like to think this smile has sustained and grown in the 15 months since the New York Times did the feature.

Please read the original story by the New York Times. Photography by James Estrin and Suzanne DeChillo, who has photographed incarcerated immigrants awaiting deportation at Wyatt Prison, Rhode Island.

BURN Magazine, under the fiscal umbrella of the Magnum Cultural Foundation, have announced a $10,000 grant “to support [the] continuation of the photographer’s personal project. This body of work may be of either journalistic mission or purely personal artistic imperatives”

I am encouraging people to take on the difficult task of securing prolonged and necessary time with a prison/jail/detention-centre population in order to faithfully describe the stories and systems of its particular circumstance. On top of that your product must be “work is on the highest level”.

It’s a tall order but if you have carried out portrait or documentary photography in a site of incarceration before (I know many of you), then submit an application to continue that critical and valuable work. It will have to better than my attempt.

San Pedro Prison, La Paz. July 2008.

San Pedro Prison, La Paz. July 2008.

Hmm. On the same day I encourage photographers to attempt access into sites designed to be impenetrable, the government and police in my home country have introduced “laws that allow for the arrest – and imprisonment – of anyone who takes pictures of officers ‘likely to be useful to a person committing or preparing an act of terrorism’.” (British Journal of Photography via In-Public)

BURN Magazine is a new(ish) venture by David Alan Harvey whose got a Magnum portfolio and his own internets.

Saint Valentine was executed on February 14th, 270 A.D. He was a priest in Rome who covertly married couples against Emperor Claudius II’s dictate. Claudius had banned marriage because wedded men were unwilling soldiers and he needed to sustain his warrior-class.

The mythology tells us that while in prison Valentine befriended the gaoler’s blind daughter. She brought him meals and they talked at length about imperialism, machismo and state control in the Holy Roman Empire. The night before he was “beaten with sticks and had his head cut off”, Valentine reached through the bars of his cell and touched her eye lids. She could see. It was a miracle. Later that night, Valentine penned a note to his ladyfriend and signed it “From your Valentine”. This was a first.

What next? The civic authorities mopped up the blood and the church went on a propaganda campaign. At that time it was the custom in Rome, a very ancient custom, indeed, to celebrate in the month of February the Lupercalia, feasts in honour of a heathen god. On these occasions, amidst a variety of pagan ceremonies, the names of young women were placed in a box, from which they were drawn by the men as chance directed. The pastors of the early Christian Church in Rome endeavoured to do away with the pagan element in these feasts by replacing the names of maidens with those of saints. And as the Lupercalia began about the middle of February, the pastors appear to have chosen Saint Valentine’s Day for the celebration of this new feast.

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At the 2009 World Press Photo Awards, it was the work of Roger Cremers‘ tourist behaviours at Auschwitz-Birkenau that caught my eye.

In a photography climate that frequently pours cynicism and scorn on global tourism, Cremers is on tricky ground. He can thank Martin Parr for making his path a little more tricky. How do we not dismiss Cremers’ work as stating the obvious?

Cremers does not reduce his tourists to unthinking crowds. Instead, he isolates his subjects; they’re in their own thoughts, their own photo-trance and their own space. There is no throng at Auschwitz and nor is there in Cremers’ images … except for the tightly-packed shuttle bus.

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Many of the prisons and concentration camps of the Third Reich have since been incorporated into the culture & heritage industry. Auschwitz receives 750,000/year and Dachau 900,000/year (Young, 1993). In the fifteen years since, one would expect figures to have risen.

Lennon & Foley’s excellent book Dark Tourism argues these sites ‘constitute attractions and they cannot simply be classified as “Genocide Monuments” since a monument in this context conveys a different meaning’. Furthermore, ‘these sites present major problems in interpretation … major problems for the language utilized in interpretation to adequately convey the horrors of the camps. Consequently, historical records and visual representation is extensively used.’

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Used not only by the site curators, but created by the visitors for later return. I am not comfortable saying that visitors to Auschwitz consume in the same way tourists do at other sites. I believe the subjects of Cremers photographs are creating their own visual memories of the site AND I believe Auschwitz visitors do so with a consciously different sensibility than at other sites.

I visited Auschwitz in 2000. Words were redundant, the scale of the crime overwhelming and agog meditation my modus operandi. It would be cognizant of the average visitor – knowing they may never return to the site – and unable to muster words, to muster a few images.

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Recommended: the Guardian Photo Editor’s summary of the World Press Photo Awards, 2009

powellslide2

Modified captions on Colin Powell’s grainy images.

According to Joseph Pine we all crave – and will buy – authenticity these days.

According to Errol Morris we are more inclined to find authenticity in grainy low resolution images.

ERROL MORRIS: But, as we become more and more sophisticated about images — about how images are processed — haven’t we become more sophisticated about detecting fraud? Photoshop manipulations are relatively easy to detect. They fool the eye, but they don’t necessarily fool the expert.

HANY FARID: The answer is: yes and no. It depends on the image source. So, if we have the raw files[8], if we have the original footage from someone’s digital camera, you can’t fool us anymore. We have enough technology today where, given the camera, the original images that came off the camera, we can tell if you’ve manipulated them. If, however, you are talking about an image that has been cropped and reduced and compressed and posted on the web, then we might be able to do it, but there’s no guarantee. The task is decidedly harder because a lot of information has been thrown away. You’ve compressed the image; you’ve resized it. This is why all the Loch Ness monster and ghost images are always so tiny and grainy, because then you can’t see the signs of tampering. With low-res images it’s much harder to detect a fake. Definitely, when we have a high-res original image, we are much better at it.

[People often trust low-res images because they look more real. But of course they are not more real, just easier to fake. We look at picture of Nessie (the Loch Ness Monster). It’s grainy, fuzzy. It’s hard to make anything out. You never see a 10-megapixel photograph of Big Foot or the Abominable Snowman or the Loch Ness Monster. One explanation is: these monsters don’t exist. But if they did exist — so the thinking goes — they are probably unwilling to sit still for portraiture. The grainy images are proof of how elusive Nessie can be. This belief extends to documentary filmmaking, as well. If it’s badly shot, it’s more authentic. – E.M.]

caribou

Grainy image of Caribou. From the Film Board of Canada, who gave Boards of Canada a name.

moon

Grainy image of moon surface

pentagon

Grainy image of Pentagon

bigfoot

Grainy image of man in a flamboyant hirsute

Flicking through my old bookmarks, I was pleasantly bothered by bumping into the Corrections Photography Archive (CPA). This is a great small collection of prints organised by theme and location. Unfortunately, the online form doesn’t work so I can’t learn more about CPA just yet. I now the collection is larger than that number digitized for the interwebs.

A couple of my favourite groupings are Music (for fun) and Dining Rooms (which arranges itself as a Becheresque typology of prison food halls). In the end, I decided to use the collection twofold; 1) as counseling for myself, and 2) as a guarantee for the readers.

FROM THIS POINT FORWARD,

I PLEDGE NOT TO POST IMAGES OF RECEDING CELL BLOCK TIERS.

Regardless if the tiers recede to the brightest white or darkest gray. Regardless of the cause. When given a choice between a receding cell-tier-photograph and another, I will take the other. Let us exhaust this inevitable angle of all incarceration-based-photojournalism. Let us gloss over those photographs and move to the other images, which will be the ones to make the story anyway.

PURGE!

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Official Blurb: The American Prison Society Photographic Archive records collection was acquired by the Eastern Kentucky University Archives in 1984 through the auspices of Dr. Bruce Wolford of Eastern’s College of Law Enforcement. Dr. Wolford received the photographs in 1979 from William Bain, instructor at the Kentucky Bureau of Training. In the 1960s Mr. Bain, a former staff member of the American Correctional Association, conceived the idea of a pictorial history of the American prison. With the aid of David A. Kimberling, a prison inmate and photographer, Bain had photographs copied from the American Correctional Association archives plus ones he received from various federal and state correctional facilities throughout the United States. In addition to the copies, which comprise the negative part of the collection, he acquired many original black and white photographic prints. Finally in 1978 through the work of Anthony P. Travisono, executive director of the American Correctional Association, Bain’s dream, The American Prison: from the Beginning. A Pictorial History, was published.

The photographic collection is rich in its depiction of early twentieth century prison life and conditions. The collection covers numerous subjects such as prison living conditions, recreational activities, industries, hospital care, corporal punishment, work gangs on the farm and quarries, vocational activities, weapons confiscated, prison architecture, and the death house. A few of the images are of prison officials, primarily in the federal penitentiary system.

Images from Top to Bottom. All images courtesy of Corrections Photographic Archive

1. One of the cell corriders in the old penitentiary for males on Welfare Island. Note the distance of the cells from the outside walls and windows and the consequent limitations of light and ventilation, especially needed on account of the absence of toilets in the cells, 1924.
2. Isolation unit at Huntsville, Texas, 1953. Photo by Frank Dobbs.
3. Eastern State Penitentiary in Philadelphia, Pennsylvania. Section of E.D.C.C.
4. Heating pipes in cell house at Indiana State Prison.
5. “A” block (North extension “outside cells”) 352 cells now used by Reception Center. Folger Adams Locking, December 5, 1946.
6. West cell block, Central Prison, Raleigh, North Carolina.
7. New Hampshire State Prison, portion of cell block.
8. No Information available.
9. Central aisle, Work House, Blackwell’s Island, New York.

EMAIL

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