PHOTOS: The 10 Best Photo Essays of January 2015 - TIME

Ethics and Politics of Representation: Ethics and the politics of representation are guiding principles for any anthropological work. We intend to consider if and how the media-maker understands power relationships and inequities in the production and dissemination of images. An ethically and representationally sophisticated approach needs to show knowledge of how images are likely to be read. Photo-essayists should show that they have considered reflexivity, positionality, rapport, the building of trust, and consent as part of their methodology.

However, not all collections of photographs can be given the title of a “true” photographic essay.

Viewed within the framework of present day social constructionist theory or simply post- theory, the current essay Close but not Deep: Literary Ethics and the Descriptive Turn show how both Critical Hermeneutics and Descriptive Sociology disavow Traditional Humanist categories....

The 10 Best Photo Essays of the Month.

Photographs as manifestations of memory assist in the process of understanding the present....

is an initiative to bolster the place of the photo-essay—and, by extension, formal experimentation—within international anthropological scholarship. As a collaboration between two journals published by the American Anthropological Association (AAA), and , is led by a curatorial collective that aims to address urgent and important concerns about the sustained prominence of multimodal scholarship. Anthropological projects based in video, installation, performance, etc. take as a given that multimodality changes what anthropologists can and should see as productive knowledge. Such projects compel anthropologists to begin rethinking our intellectual endeavors through an engagement with various media, addressing the particular affordances and insights that each new form of scholarship offers. How, for example, does photography produce different types of knowledge than text and/or film? What criteria might we need to interrogate and evaluate each of these forms of multimodal scholarship? As part of a broader set of questions about the relationship between forms of scholarly work and knowledge production, we explore the ongoing relevance of the photo-essay.

The JOURNAL on American History: Photo Essays

This book approaches this moment of the visual turn in German modernism with the fundamental premise that the diverse manifestations and subgenres of the photo essay in Weimar Germany were both a reflection of and contributor to the enormous changes in culture, society, and technology during this tumultuous period. As Pepper Stetler has eloquently argued with reference to photobooks, these forms “staged dialectics of unity and fragmentation, coherence and discord that were at the heart of visual experiences in the Weimar Republic.” But photo essays were not limited to art books. Different photo essay genres—whether one-page illustrated text-image news stories in illustrated magazines, nature photography anthologies, physiognomic portrait books, or experimental photo essays—did more than just document the complex dreams, aspirations, realities, and crises of Weimar Germany. German photo essays of the late 1920s and early 1930s blossomed as a distinctly modern, technologically inflected vehicle used by writers and photographers to participate in crucial aesthetic, political, and cultural debates. Yet for all of the familiar focus on Weimar cinema, scholarship has not paid nearly as much attention to photo essays, even though millions of readers encountered them in illustrated magazines and books and even though twenty periodicals (illustrated and otherwise) were sold for every movie ticket.

Photo Essays - RTOS - Rochester Theatre Organ Society

This book examines an especially significant moment of this visual turn—the development of the Weimar photo essay—through readings of several seminal works and examinations of the discursive contexts in which they appeared. The newspaper photo stories alluded to in Seidenstücker’s image as well as other forms, including portrait collections, book-length assemblages of nature photography, and experimental modernist photobooks, all reveal photography’s broad linguistic dimensions. Photographers could organize photographs with greater and lesser degrees of structure and use them to tell stories, make arguments, communicate ideas, and persuade listeners—such as the art critic—to see, think, and ultimately act in new ways. To the reader, student, and scholar of Weimar Germany today, the photo essay provides a unique lens through which to read, or rather reread, this tumultuous but exciting era in modern German history and to examine a profound sense of enthusiasm for a new representational technology.