Remerciez-le!

Remerciez @Admin pour avoir partagé cet document gratuitement, de la manière la plus simple, en partageant sur les réseaux sociaux.

The Photographer’s Guide to Inclusive Photography 1 The Photographer’s Guide to

The Photographer’s Guide to Inclusive Photography 1 The Photographer’s Guide to Inclusive Photography 2 CONTENTS © 2020 PhotoShelter, Inc No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, scanning or otherwise, without the prior written consent of PhotoShelter, Inc. The logos of the companies described are the trademarks of their respective owners. No endorsement is implied. PhotoShelter, Inc. makes no representations or warranties with respect to the accuracy or completeness of the contents of this work and specifically disclaim all warranties, including without limitation warranties of fitness for a particular purpose. The advice and strategies contained herein may not be suitable for every situation. 1. 2. 3. 4. 5. 6. 7. 8. 4 6 10 14 17 20 23 26 Cover Image: Amarie Baker, New York, 2018; from the series ‘Liminal Space’ by Mengwen Cao. *This guide features first-hand accounts and insights from industry leaders. To learn more about their expertise and photographic work please review the bios at the end of this document. INTRO PHOTOGRAPHING RACE PHOTOGRAPHING THE GLOBAL SOUTH PHOTOGRAPHING INDIGENEITY PHOTOGRAPHING GENDER PHOTOGRAPHING THE LGBTQAI COMMUNITY CONCLUSION ABOUT THE AUTHORS* TABLE OF The Photographer’s Guide to Inclusive Photography 3 In just a few short months, our world has turned upside down. The frameworks and narratives with which we once navigated social and professional experiences have been shaken to their core. And with so much in flux, it's paramount each of us dedicates time and energy to visualizing our eventual return, whenever that may be. The stories we tell with our photographs have always mattered. Right now, we have a unique opportunity to step back, think critically against the backdrop of our trauma, and make choices about the future we want to build together. The essays in this guide carry their own emotional trauma alongside a completely unique historical context. But are the current frameworks we use as photographers and storytellers still suited to these contexts? Of course, frameworks are only successful when they're built on context. And frequently, this context is what separates the photographer and the subject from the community being photographed. These essays challenge our preconceived frameworks. They ask us — the visual storytellers — to consider how to contextualize the story in a way that composites an entire history into the same frame as the community being photographed. But should a new framework be built explicitly by those in that community? Does one framework truly work anymore when we live in a society so rooted in diversity? There are any number of questions outsiders should ask before they enter into a community that is not their own. Because these pieces are stories, we think that's a good place to start. As photographers, there's a moral obligation to listen to and understand the story first before you try to tell it. A shared meal, a city council meeting, a walk through the red light district; photography is as much about empathy as it is about creating a composite image. Without the connection between the photographer and the story they're telling, there's really no story at all. – Caitlyn Edwards, Community Marketing Manager Sarah Pace, Technical Support Specialist A note from PhotoShelter The Photographer’s Guide to Inclusive Photography 3 © Jovelle Tamayo Archie Cruz, 16, participates in the 2nd Subic Bay Pride Parade on Saturday, Dec. 8, 2018, in Olongapo City, Philippines. The Photographer’s Guide to Inclusive Photography 4 Lifting a camera to the eye and pointing it in the direction of a human, a landscape, an object, or any unfolding scene is an act of great power. While general audiences may tend to over rationalize the camera as a technology mostly unfettered by human interference, the truth that every photographer knows is how much choice we wield in how we use light, how we compose, what we leave in and what we leave out. As the shutter clicks, as we advance to the next frame, we have created a snapshot of our perception of a moment. Some of us may take photos as hobbyists, others might be professional photojournalists, portraitists, event/wedding photographers, etc. Whatever our goal in taking pictures, the end result is the same for all photographers in that we present ideas about the world to people who look at our images. This PhotoShelter guide offers ways to think about the power of making ideas as we make images. Why should we think deeply about our approaches to photographing an Indigenous community’s tribal celebration, to taking portraits of Black children, transgender women or Latinx migrant workers? Why does it matter who photographs in these marginalized spaces and how we can all be thoughtful and take care with our image-making in any space? Introduction Maria Suyapa, a Honduran who traveled with a migrant caravan over thousands of miles to get to the United States' border, uses an American flag to shield her from the setting sun on Dec. 2, 2018. She says she acquired the flag during a protest march on the Tijuana/San Diego border earlier that week. Suyapa is one of thousands living in the El Barretal shelter as they await processing to enter the United States. © Tara Pixley By: Tara Pixley The Photographer’s Guide to Inclusive Photography 4 The Photographer’s Guide to Inclusive Photography 5 people only in relationship to their difference from what we often perceive to be the “norm,” which is generally white heterosexual, cisgender, middle class, Christian, and Western cultural traditions. When we say things such as people, places, food or practices are “ethnic” or “exotic,” what we’re really saying is they aren’t white or Western. Othering happens usually unintentionally because it is a product of our implicit bias towards our own cultural values and ways of being in the world. It shows up especially in how we photograph non-white people and non-Western places. • The concept of depicting people as “The Oppressed” helps us recognize our tendency to show marginalized groups as only capable of suffering or being victims, which is ultimately dehumanizing. Instead, we can recognize every person’s capacity for joy and experiences beyond marginalization or systemic oppression and reflect that in our photographs. It’s important to note that this guide doesn’t privilege an “insider” perspective over an “outsider” perspective. We don’t believe that only people from a particular community should photograph within that community. Rather, this guide is a rumination on the necessity of context. When we fail to grasp the context of In this guide, photographers from all over the world offer their experiences and perspectives to PhotoShelter’s global community of image-makers, providing answers to these questions and many more like them. Several of the guide’s writers specialize in photojournalism, documentary photography and portraiture, however, the knowledge and advice they offer within is applicable to any kind of photography. Across the five sections in this guide there exists a throughline of recognition that photography has power; that its power has often been used to advance dangerous ideas which encourage oppressive social practices toward certain marginalized groups; and that it is up to each of us to educate ourselves how to move away from that kind of imagery. Some of the terms and ideas you’ll encounter in these pieces may be unfamiliar or difficult to grapple with. A few key ideas I want to offer as starting points: • The Global South is a phrase used to refer to low and middle income countries located in Asia, Africa, Latin America and the Caribbean. It’s generally preferable to the misleading and derogatory term “Third World.” • “Othering” is a term used to describe the practice of framing certain stories, key elements and histories of people, places and communities, we miss opportunities to tell truly great stories and make incredibly impactful images. You’ll encounter personal stories, individual photographic practices, admonishments of what to do and what not to do before embarking on visual projects and a few learned lessons. What matters most is that the knowledge gained from these essays expands your view of photography and perhaps the world, that it carries into your image-making practices. That you apply these lessons the next time you raise the camera to your eye. • Teju Cole, “Getting Others Right” • Sonya Childress, “Beyond Empathy” • Video: Chimamanda Ngozi Adichie, “The danger of a single story” “The single story creates stereotypes, and the problem with stereotypes is not that they are untrue, but that they are incomplete. They make one story become the only story. Show a people as one thing — as only one thing — over and over again, and that is what they become. How [stories] are told, who tells them, when they’re told, how many stories are told — are really dependent on power. Stories matter. Many stories matter. Stories have been used to dispossess and to malign, but stories can also be used to empower and to humanize. Stories can break the dignity of a people, but stories can uploads/Geographie/ photographers-guide-inclusive-photography.pdf