The Giving Part of Taking Other People’s Pictures

June 14, 2021 By David Griesing Leave a Comment

It’s harder than ever to maintain, and then safeguard, our zones of privacy.

I’ve been thinking about it in terms of pictures that other people take of us or that we take of them—sometimes when those other people are friends, sometimes when they’re strangers, and sometimes when its companies or authorities who are taking them for their own purposes.

In these photographs, what is the line between a fair exchange (with mutual benefits) and an unwelcomed intrusion?

What exactly are we “taking” when we take a picture of somebody?

(When shown their photographs, tribal people often complain that the camera has somehow stolen their souls.)

Is there, or should there be, a “give” as well as a “take” with photography?

Two encounters this week sharpened that last question for me.

A close colleague of mine in counseling work stopped by unannounced with some cookies to end our just concluded school year on a celebratory note. We’d been meeting with our kids on Zoom and hadn’t seen one another in person for months. She was so glad to see me that she wanted to take my picture before leaving, but I waved her gesture off. I’d stopped mowing the lawn when I saw her heading my way and felt that my sweaty appearance would have made a poor souvenir (even though she clearly felt otherwise). “What just happened?” I wondered afterwards.

My second encounter came by way of reminiscence.

Three years ago this week, I had been in New Orleans and was remembering that unbelievably rich and flavorful time, eager to go back and dig in even deeper. Part of my return trip would be taking in a “second line” street parade, because every week of the year at least one of them takes place somewhere in the City.

*_{A “second line” street parade photo by Aeisha Palmer, May 20, 2007}*

As you can imagine, these parades (which are sponsored by New Orlean’s “social aid and pleasure clubs”) are a kind of paradise for professional and amateur photographers. While following a random NOLA thread last week, I came across a story about “the etiquette of making photos” of the performers at these parades. This story also speculated about the “taking and giving” boundaries of photographing other people. For example:

Are there different rules for friends than there are for strangers?

Several years ago, Susan Sontag explored these boundaries and expectations in a series of essays for the New York Review of Books, later published in her own book, On Photography. Sontag focused on the “acquisitive” nature of cameras, how they “take something” from whoever or whatever is being photographed, a sentiment that’s similar to those tribal member fears about having their essences stolen. She wrote:

To photograph is to appropriate the thing photographed.

Sontag also commented on the vicarious nature of picture taking.

Photography has become one of the principal devices for experiencing something, [or at least] for giving the appearance of participation.

The way she saw it, we may not be marching in (or even watching) the parade, “but somehow we feel that we are” if we can capture a picture of it for savoring now and later on. Instead of “being in the moment,” we’re counting on the triggering nature of these pictures to approximate the real experience we’ve missed by “capturing enough of it” to still feel satisfied.

Of course, there are consequences on both sides to this kind of “taking.” A drive to accumulate photographic experiences can not only rob us of more direct engagement with other people and places (say, the actual smells and sounds of the parade, or the conversations we might otherwise be having with spectators and participants), it also raises questions about the boundaries that can be crossed when we’re driven by a kind of hunger to “take” more and more of them without ever realizing the impacts that we’re having by doing so. To our camera’s subjects, it can feel like violation.

As I’ve become more thoughtful about these impacts, it’s meant thinking through my picture-taking drive in advance.

What is gained and what can be lost when I’m taking somebody’s picture? What is (or should be) the etiquette around photographing others? These are questions that seem impossible to ignore since cameras are literally everywhere today, devouring what they see through their lenses. As a result, going through some Q&A with myself by way of preparation—whether I’m likely to be the photographer or the photographed—increasingly seems like a good idea.

For instance, what if strangers “who would make me a great picture” are performing in public or, even more commonly, just being themselves in a public place when I happen upon them with my camera?

My most indelible experience of the latter happened at the Damascus Gate, which leads to the “Arab Quarter” in Jerusalem’s Old City. In arcs along the honey-colored steps that sweep down to that massive archway, Palestinian women, many in traditional clothes, were gathering and talking in a highly animated fashion against the backdrop of ancient battlements, but as soon as I pointed my camera in their direction to take “my perfect shot,” they raised their hands, almost as one, and shielded their faces from me. Was that ever sobering! I didn’t know whether they were protecting their souls or simply their modesty and privacy from another invasive tourist.

In the story about picture taking at parades in New Orleans, one photographer who is drawn by their similarly incredible visuals observed:

You really have to be present and aware and know when the right time is to take a photo. Photography can be an extractive thing, exploitative, especially now when so many people have cameras.

To her, knowing when to shoot and when to refrain from picture taking is about reading the situation,

a vibe. You know when somebody wants you to take their photo, and you know when somebody doesn’t.

Another regular parade photographer elaborated on her comments:

If you carry yourself the right way . . . people putting on that parade see you know how to handle yourself and will give you a beautiful shot.

I’ve also found that performers want you to portray them in the best light and will help you “to light the scene” when you make eye contact and invite them to do so. On the other hand, they will also tell you (if you’re paying attention) when the lighting is off and you should just back off.

*_{Here’s one where I got it right, at least about “working the scene together.”}*

Because everybody wants to look their best while being photographed, the same rules usually apply when the subjects aren’t part of a performance but simply out in public, being interesting by being themselves. For the would-be photographer, it’s about initiating a conversation and establishing at least a brief connection before asking: can I take your picture? If they don’t feel “looked down upon” by your interest, they’ll often agree. But as with those “on stage,” these preliminaries can also result in: “No, I’d rather that you didn’t right now,” a phrase that’s hard to hear when “a great picture” is right there in front of you if only you could “take it.”

Whenever you know in advance that taking pictures could be uncomfortable for those being photographed, one New Orleans parade regular talked about the need to deepen his relationship with those he wants to photograph before showing up with his camera. Because he takes pictures at NOLA’s legendary funeral parades, he brings club members photos that he’s taken of the deceased on prior occasions so that colleagues and family “have a record of that person’s street style.” It’s his sign of respect at what is, after all, a time for grieving a loss as well as celebrating a life.

We go and we shoot funerals and [then] it’s not a voyeuristic thing. You’re doing what you do within the context of the community

—a community that you’ve already made yourself at least “an honorary member of” through your empathy and generosity.

Then, what you’re giving tends to balance what you’ll be taking.

_{Here’s a gentleman I’d just purchased something from at the annual flea market.}

So what about my cookie-bearing friend who showed up unannounced this week?

Should I have relaxed “my best foot forward” enough to permit one sweaty shot when she so clearly wanted a memento of our reunion after so many months apart?

Yes, probably.

But I’ve become so defensive about cameras taking my picture on every city street, whenever I ring somebody’s doorbell or face my laptop screen that sometimes it’s hard to recognize when “putting down my guard” is actually relationship building and for my own good instead of some kind of robbery.

Where zones of personal privacy are concerned, this is a tricky time to navigate either taking pictures of somebody or being captured by one.

It’s one more reason to try and rehearse my camera-related transactions before I find myself, once again, in the middle of one.

+ + +

(If you’re interested in a photo essay I posted after my last visit to New Orleans, here it is, from May, 2018. Another post, with photos taken at the Mummers Parade in January, 2019, can be found here. Taking pictures has always been a way that I recharge for work, although I’m still in the process of learning its complicated rules.)

This post was adapted from my May 30, 2021 newsletter. Newsletters are delivered to subscribers’ in-boxes every Sunday morning and occasionally I post the content from one of them here. You can subscribe by leaving your email address in the column to the right.

The Work That’s Behind Labor Day

September 3, 2017 By David Griesing Leave a Comment

Most Americans mark Labor Day as the unofficial end of summer. But since 1894, it has also been a national day of rest to celebrate the American worker. Earlier this week, I got ready to honor the day by visiting an exhibit at Drexel University called “Badges: a Memorial Tribute to Asbestos Workers.”

I was interested in the exhibit for several reasons.

Before, during and after World War II, the giant Philadelphia Naval Yard built and serviced many the country’s battleships and other vessels. Asbestos was used extensively for insulation at the Naval Yard, and tens of thousands of workers in my home town were exposed to it.

I was also in the Coast Guard, and ever since I have felt a connection to those who work in America’s ports. But there was another reason too. As a newly minted attorney, my first job was a clerkship for the judge who was presiding over a flood of asbestos cases brought by Naval Yard workers 40 to 50 years after they had been exposed to this hazardous material.

Almost every day for a year, I heard these men’s stories. All suffered from mesothelioma, lung cancer or asbestosis. None could breathe easily and all were seeking recovery from asbestos companies that had failed to warn them about the dangers they were exposed to. It was difficult to listen to their stories and impossible to forget them. My solidarity with these fallen workers also comes from sharing a courtroom with them.

Over the years, millions were affected nationwide in a range of asbestos related businesses. As illness becomes apparent—asbestos lodges in the lungs and takes decades to manifest its injuries—the flood of lawsuits led to a 30 billion dollar trust fund established by the asbestos industry to provide compensation for worker claims. But asbestos itself has never been banned as a hazardous product, and according to one watchdog group, has resulted in approximately 200,000 additional deaths between 1999 and 2013, and another 12,000-15,000 every year since.

What intrigued me about the Badges Exhibit, was how its curators attempted to humanize the stories of the workers who were most affected. They show us the badges that the men and women who worked with asbestos actually wore on the job. Like time capsules, these badges bear not only their pictures but also the names of their employers and employee numbers in what are often beautifully crafted metal frames. As Earl Dotter, one of the Exhibit’s curators noted in an interview:

These badges personalized this large group of harmed ship builders, construction insulation workers, and more recently the 9/11 emergency responders I photographed on Ground Zero.

At the time, he also spoke about the impact that these badges had on him:

If in my subject’s employment or work experience they have been diminished, I need to show the causes of that diminishment, wherever that takes me.

Earl Dotter tells worker stories. To do so, he takes pictures, collects photographs, and tracks down memorabilia. It has been his job for most of his adult life. As he said elsewhere: “It was after the tragedies of 1968 [the Robert Kennedy and Martin Luther King assassinations] that I decided to fully devote my creative energy to socially useful photography.” The social use that he had in mind was improving working conditions in hazardous industries. Because he became convinced that working with asbestos could never be safe, he has also been telling everyone who will listen that it should be banned forever.

It is always interesting to learn how someone like Earl Dotter settles on the work of his life. When I conduct interviews about work, this is always my first question because the answer tends to illuminate everything that follows.

Dotter mentioned the Sixties as a catalyst for his social conscience, but I found this remark of his (from the same interview) to be telling as well:

Not too many photographers carve out this subject [hazardous work] as their own today and I still can’t figure out why. Sometimes, when entering a factory, I feel like I am on a movie set with colorful actors of all descriptions populating the moving stage. But what is even better, is it is real and a visually engaging opportunity for me to do useful work too.

For Dotter, being around men and women who were making things was exciting—a real life theater—and as he got to know these workers better, he wanted to help them as only he could.

You can see Earl Dotter’s photography at his website. When he’s not storytelling, he is also a Visiting Scholar at Harvard’s School of Public Health and an advocate for worker safety.

The Badges Exhibit was originally scheduled to close on September 1, but has just been extended through mid-November. Additional information about it can be found here.

This Labor Day, when it is harder to find a factory where workers make things, this story about workplace hazards may seem passé. In the dangerous industries that remain, there are occupational safety laws and far greater accountability than the workforce enjoyed in the heyday of the Philadelphia Naval Yard. But there are still asbestos-related injuries and deaths, and workplace safety concerns continue to stalk many industries such as fishing and coal mining.

Moreover, unless you make your own work (like Dotter has done), work generally strikes a balance between the needs of those who “own the means of production” and the workers “who produce.” Sadly, those needs are not always the same.

Labor Day is a day to celebrate the fairness (and successes) of that balance when it is struck, but it is also for considering how to maintain that fairness in an era of rapid change. Our jobs today will be transformed by increasing automation from both robotics and artificial intelligence. Will we be helped by these developments or harmed by them?

Given the future of our work today, this cautionary tale about America’s asbestos workers could not be more timely.

Your Upbringing Always Affects Your Principles

August 20, 2017 By David Griesing Leave a Comment

Chris Arnade may have returned to the roots of what has always been most important to him.

He grew up hardscrabble middle-class, where the choices were between new clothes and car repairs on the one hand, and a good education, on the other. He went on to become a successful Wall Street trader, but in the aftermath of the 2008 financial crash left that career behind to try and capture the stories of downtrodden but hopeful men and women across America.

I’m not saying that this was courageous or that his life today is exemplary. (You can draw your own conclusions about that.) But there may be ties between where he came from, how he climbed so far up the ladder, what he realized once he got there, and how he’s chosen to live and work ever since. The moral arc we’ve taken since childhood is worth considering—particularly its pull on us to return.

When I came upon Arnade’s story recently, the facts of his past seemed to make powerful suggestions about the ways he’s decided to set his priorities today. Of course, it’s always perilous to select and then connect up the historical dots to your current realities, because hindsight can prove almost anything when it tries hard enough. But the values that you acted on as a child are always in dialogue with your current priorities, and it seems to me that Arnade’s story demonstrates the gravitational forces that are always at play in this kind of correspondence.

Arnade’s family stuck out in its corner of the rural South because of its well-known views on civil rights. His father was a Jewish academic who had fled Nazi Germany, while his mom was a socialist activist. Arnade played sports in high school and learned how to handle a gun, but recalls being ridiculed as a n—lover. Unlike the world of his family, is hometown of San Antonio, Florida was conservative, Catholic and a bit more down-on-its-luck.

Arnade photo of pawn shop in San Antonio Florida

His parents raised him along with six other siblings. While neither big families nor limited possessions were unusual in San Antonio, the Arnades used their limited resources to take their kids on far-flung research trips that opened them up to the wider world and ultimately to send all seven to college—opportunities that were almost unheard of in their community.

Beyond his family’s politics and commitment to education, Arnade’s upbringing made him something of an outsider in another way. He was neither his family’s youngest nor its oldest child. As he said later:

“Being caught in the middle you end up something of a watcher. You never fit in entirely.”

Another Arnade photo, of a Quik Mart in San Antonio

It was almost like being an immigrant, caught between his old country and his new one.

Arnade went to college at Johns Hopkins and ended up getting a doctorate in particle physics. He parleyed his comfort with numbers into a Wall Street job, selling emerging market bonds. Arnade made a lot of money and for the first time had a comfortable life, but several disruptions were soon to follow.

In the years between 2008 and 2012, the stock market crashed, the banks that lost billions for regular people were bailed out by the federal government, his mom (who had her own views about his career) died of cancer, his proprietary trading desk was closed under new regulations, and his fellow traders were complaining that Obamacare had raised their taxes.

It rankled Arnade, and during this time, he seemed torn to his co-workers. One reported that he’d leave work to take half-day walks, reporting back later that he’d taken pictures of poor people and those who had recently arrived in America. This is how Arnade describes that transitional time in a piece he wrote for Quartz:

“I had a very good life. So did the people around me. . .

We were the front-row kids, and we felt we had done everything right. We had studied hard and gone to good schools. Most of us had parents who supported us. Our schooling got us good jobs that allowed us to live in nice neighborhoods.

Many of us were geeks, educated in the sciences, and steeped in clever rational arguments. With a PhD in physics, I was part of the wave of rocket scientists that changed Wall Street.

Buttressed by our math, our spreadsheets, our data, and our obsession with the rational, we had a confidence that grew into hubris as we entered and changed more and more industries, from baseball to finance, politics and journalism.

That hubris should have dissolved following the financial crisis in 2008. Our unchecked faith in numbers, and in ourselves, had proved disastrous. We should have admitted guilt and rethought the things we were certain about. Instead we focused on bailing ourselves out and moved along as if little had happened.

It was during this time that I started photographing New York City. I would go on long walks to escape the stress of my job in the aftermath of the crisis. I started letting my decisions be guided by unquantifiable things like empathy and curiosity rather than probability.”

When I confronted a similar career pivot, I had a refuge in the Coast Guard that was as far away for me as Arnade’s poor and immigrant sidewalks were from Wall Street. I thought about everything that was wrong with where I’d been, but never trusted enough to let my empathy or curiosity play much of a role.

With “big firm lawyer” behind me, I tried to plan my way to the future. (How much does my next job have to pay so I can cover my expenses? What values are most important to me? What do I want to be when I grow up?) My sense is that Arnade never analyzed the particles in his physics like I tried to do; his was more of a backward drift in the direction of his heart.

The job that gradually emerged for him was documenting the stories of poverty, addiction and finally, wherever there was a forgotten corner of America struggling for dignity. To find these stories Arnade travels the back roads, sleeping in his van or cheap motels. His wife was alarmed at first by his change of focus and loss of income, but she became his collaborator as he posts his visual chronicles on his Flikr account, in essays created for The Atlantic, or in videos about the aspirations of Trump voters.

Arnade seemed to be looking for the truths that had been masked by his upscale life.

In a 2013 interview on NPR, he recounts how one homeless junkie told him that do-gooders often “offer to buy me lunch. But very rarely does anybody ever ask me who I am.” So Arnade started asking.

After one conversation, he asked the call girl how she wanted him to describe her in the picture he had taken. “As who I am,” she said. “A prostitute, a mother of six, and a child of God.” Encounters like this challenged his outlook. “I naively thought that I would see the same cynicism towards faith that I had, and I saw the exact opposite,” he said. Since their optimism seemed revelatory, he thought that it might say something to others too.

Arnade picture of Jose Villa in La Villita, New Mexico after Villa shared his American Dream: “To live a successful life on your terms, to be accepted by others on your terms, and to accept others on their terms.”

According to The Wall Street Journal story where I first learned about him, Arnade’s new career “is an attempt to reconcile his multiple identities.” Maybe. But it certainly includes a return to what he thought was most important to him as a kid. In that NPR interview about his new job, Arnade says: “This is more comfortable to me. This is what I grew up with.” And in what was described as a view from the back row interview, he had this to say:

“I often use my favorite example, which is McDonald’s. I grew up in a white working-class town, so for me, it’s kind of rediscovering what I already knew. But McDonald’s, which is viewed with contempt [by the front row], is actually a center of community, it’s where people gather. McDonald’s is not a joke.”

Of course, his kind of route is never a full circle. Everyone changes along the way, and the back row isn’t known for writing in The Atlantic, The Guardian, or being interviewed and profiled as often as he is. But Arnade has become a kind of megaphone for the values of his heartland, where residuals of respect, reverence, and outrage over injustice remain. It’s not only what he knew and felt was important back then, but his processing of it by that outsider’s perspective in all the years since.

Moral foundations are first established in childhood. They don’t determine what follows, but are always a part of the continuing conversation that conscience plays inside our heads.

Most people find it hard to look at themselves from a critical distance, decide what they should or should not do, and go on to act accordingly. What does my basic decency require me to do here, they wonder. One way to liberate the conversation from the confusion that surrounds it is to ask: what would the child in me do?

—just like Chris Arnade might be asking.

It Only Takes One to Take a Stand

August 17, 2013 By David Griesing 3 Comments

There was a remarkable photograph in the papers on Thursday, taken as Egyptian troops were leveling the encampment of Muslim Brotherhood supporters in Cairo. It depicted a solitary woman standing between a military bulldozer and a wounded man on the ground.

We’ve seen this all before, but it never gets old.

There was a similar confrontation in Tiananmen Square in 1989, with a lone protester blocking a column of Chinese tanks. That picture still speaks to the courage of saying: “Stop.” “No, you cannot do this any longer”—even when no one else is standing with you.

On its anniversary this year, China’s leaders continue to suppress any discussion of the uprising of the human spirit that took place 24 years ago. It is a continuing exercise in “thought control” aimed at ensuring that those who were alive then start to forget, and those who came after never manage to find out. But some of the power in pictures like this is that they won’t go away, and in their permanence will always call to those who can recognize a part of themselves there.

Indeed, I think we linger over images of solitary personal courage because we hope that someday we’ll be up to doing the same. We keep looking because the individuals depicted are standing in for the best part of each of us too. We wonder:

Will I have the courage to seek out the circumstances,

and when those circumstances require it, stand up for what I believe in,

even when there’s no one else is around?

The “thousand words” in these pictures speak about a life force that won’t be pushed down any longer. It caused a woman in Cairo and a man in Beijing to leave the relative safety of their homes behind so they could speak their particular truths to power. It’s what many children do with far greater ease than us grown-ups: the ones who know what’s important to them and don’t fear the consequences of putting themselves on the line.

Maybe we have such children, were such children.

However what experience has taught us over the years is how to protect ourselves from risks & confrontation, to sidestep & keep our heads down. Our experience teaches us almost nothing about taking a stand for what’s essential in our lives and work.

That’s some of what these pictures do.

They help us find the power of a child, when playing an adult’s game.