Photography in the Age of Electronic Imaging

Digital technology in regards to photography brought on an anxiety about the continuing value of photographic 'truth' and the status of photographic evidence. Ritchen saw the substitution of chemical by electronic processes leading to an increase to photographs being manipulated (318). The initial change like with any change causes concern but throughout photographic history images have been manipulated in various ways to include combination prints, coloring, and re-staging events especially during the civil war. So the truth in photography has always had some flexibility and integral to photography and was often hinged on technology or lack of that spurred photographers to find alternative means to get the shot. The post production manipulation of photographs raised ethical problems for Ritchen as well. He felt strongly about this aspect in regards to photojournalism. Photojournalists are reporting on specific events where the image is recording history, and as the viewer you take it as truth of that moment. So when manipulated by editors or taken out of context from what the photographer wanted to present does cause concern. As stated before that has been acted upon in the beginning during war photos because of lack of technology, but in today's world with all of the devices to document and transfer data I feel there should be more truth. When everything around us is under constant surveillance, reality without edit, info that is broadcasted in multiple mediums, it doesn't seem necessary to manipulate in photojournalism. The distinction between the imaginary and the real. (321)
Assenting to the increasing power and sophistication of new imaging technologies, Robins argues that they are a postmodern form of this older drive to order and control the world through the 'rationalization of vision'. New image technology, like the earlier positivist uses of photography to measure and collect facts about the world, now strives, through imaging the invisible and via simulations built from data to continue this vision. Foe Robins, the real problem is the close association of such drives and discourses with a narrative of technological progress in which the 'new' is always better than the 'old'. This infers that the old is inferior and limited in contrast to the new. This is a concern but only if we forget that photography's role is not only cognitive but is also emotional and aesthetic. 

Brenda LaBier: as i remember it...

Brenda LaBier: as i remember it…

Untitled, 2011. © Studio65. Courtesy of the artist

Expanding on as i remember it..., I portray the compounded effects of childhood neglect and abuse through conflicting family constructs. Bringing the interior divergence of emotions to the exterior. This polaroid is one of few depicting a tumultuous lifestyle at a young age.

Brenda LaBier: as i remember it...

Brenda LaBier: as i remember it…

Untitled, 2011. © Studio65. Courtesy of the artist

Expanding on as i remember it..., I portray the compounded effects of childhood neglect and abuse through conflicting family constructs. Bringing the interior divergence of emotions to the exterior. This polaroid is one of few depicting a tumultuous lifestyle at a young age.

Miroslaw Balka

Miroslaw Balka

51 x 49 x 37,23 x 15 x 11
2000
Steel, glass and, felt
20 x 19 5/16 x 14 5/8 x 5 7/8 x 4 5/16 in. (51 x 49 x 37 x 15 x 11 cm)

Photo: Steve White

http://www.whitecube.com/artists/balka/v/

Balka’s work deals with both personal and collective memories, especially as they relate to his Catholic upbringing and the collective experience of Poland's fractured history. Through this investigation of domestic memories and public catastrophe, Balka explores how subjective traumas are translated into collective histories and vice versa. His materials are simple, everyday objects and things, but also powerfully resonant of ritual, with hidden memories and history.

This concept is also found in my work as i remember it..., as I deal with the memories of childhood traumas, re-enacted moments with symbolic meaning to expand on "memory work" and the tracing of identity.

Historically, personal pictures are deeply unreliable, but it is in this very unreliability that their interest lies. In making an effort to reread private pictures, there has been a move to revalue the undervalued and to bring into public discourse meanings, which have been concealed in the most secret parts of the private sphere. Photographers and curators (Jo Spence, Val Williams and Marianne Hirsch) are concerned to read history through autobiography.  (Liz Wells, 123)

Brenda LaBier: as i remember it...

Brenda LaBier: as i remember it…

Untitled, 2011. © Studio65. Courtesy of the artist

Expanding on as i remember it..., I portray the compounded effects of childhood neglect and abuse through conflicting family constructs. Bringing the interior divergence of emotions to the exterior. This polaroid is one of few depicting the place of these events.

Brenda LaBier: BACK STAGE

Brenda LaBier: BACK STAGE -  Ringo

Untitled, 2011. © Studio65. Courtesy the artist

The highly evocative language of music has exerted powerful influences on individuals and societies alike. To many people in many cultures music is an important part of their way of life and carries with it great impact. BACK STAGE is a collection of music paraphernalia, guitar pics and back stage passes from personal experience working with these artists.  

Brenda LaBier: BACK STAGE

Brenda LaBier: BACK STAGE - Marilyn Manson

Untitled, 2011. © Studio65. Courtesy the artist


The highly evocative language of music has exerted powerful influences on individuals and societies alike. To many people in many cultures music is an important part of their way of life and carries with it great impact. BACK STAGE is a collection of music paraphernalia, guitar pics and back stage passes from personal experience working with these artists.