The Relevance of Photography in the Anthropocene

Photography is being used in modern times as a tool for enhancing human connection with the planet. With technology meaning our insight is becoming greater on the practices of the animal kingdom, and the human impact on this, the creative tool of photography can draw us closer without the further disruption of natural environments. Photography, alongside design (as seen in Petrochemical America) can and has been used as a tool to enhance the output of these images. Such advancements give rise to the possibility of a future that incorporates humans and non-humans within our global considerations, thus new media ecologies that contest the Anthropocene. 


February 2008

TEDTalkThe photo director for National Geographic, David Griffin knows the power of photography to connect us to our world. In a talk filled with glorious images, he talks about how we all use photos to tell our stories.
photography carries a power that holds up under the relentless swirl of today's saturated, media world, because photographs emulate the way that our mind freezes a significant moment.

• such is seen within humans and scary / life threatening moments, or funny beautiful ones
• Flashbulb memory - when all elements came together to define not just the event but ones emotional connection to it - this is what a photograph taps into when it makes its own powerful connection to a viewer 
• Animals take their own photo with camera traps stepping into infrared beams 
• Automatic camera - advanced technology - affect of bringing the audience closer to the subject, as well as gaining knowledge of animals like never before due to moonlight cameras capturing things even the naked eye cannot see without any light disrupting the natural play for the animals themselves. 

NOTEWORTHY (in relation):

DYNASTIES & DAVID ATTENBOROUGH CULTURE: this is a huge part of personification of the animal kingdom, bringing the viewer into direct emotional play with the animals in their natural environments. Never before has a whole hour episode been dedicated to one species, showing the in-depth emotional value and non-alien practice of all animals, not just humans, hopefully bridging the gap that we as a species have formed. With advance technology they are showing the beauty in rain, in the seasons, and in the micro (that which cannot be seen / that which is missed) by the naked eye. Thus, humanity is using technology to aid photojournalism, and media production, with the huge -long-term projects and dedication of the teams to making these forms of entertainment to a MASS POPULIST audience. Possibly the one form of non-anthropocentric design within popular culture and mainstream media outlets. 

• Photographer Nick's story on a national park in Chad, ended up creating a story for the elephants that had to migrate naturally into unprotected land and were killed for ivory - the story shed light on the issue gaining greater exposure and awareness for these issues:
• Instead just straight, 'isn't this an amazing world' narrative, he instead created a story that touched audiences deeply. Instead of just knowledge of the park, he created an understanding and empathy for the elephants, the rangers, and the many issues surrounding human-wildlife conflicts.
• For the first time in history more people live in urban, rather than rural, environments - Richard Wurman new world population project - most of that growth is not in the cities but in the slums that surround them 
• They need to photograph it - to tell the story 
• Photographer Jonas was put in Dharavi, in Mumbai India, to focus on telling one story in depth - to gauge a clearer and deeper understanding of the situation; 'really get into the heart and soul of this really major part of the city'
• SO - he did not just do a surface look at the awful conditions that exist in such places - he saw that this was a living and breathing and vital part of how the entire urban area functioned, the enduring human spirit that underlies this community 
• Teamed up underwater photographer Brian Skerry and photojournalist Randy Olson, to document the depletion of the worlds fisheries. Capturing the human and natural devastation of over fishing, offered a greater insight and transparency for the public audience. The sad truths, more 'ok' pictures seen before of by-catch - but by getting into the heart of the action and picturing himself under the boat, he exposed the extend of the waste. Also taking even greater risks meant never-before seen images of a trawl net scraping the ocean bottom. Back on land Randy photographed a make-shift fish market, where the remains of filet fish were sold to the locals with the main parts already being sent to Europe. 
• There was some good - sustainable and conservationist fish area that are thriving with new life, giving hope to sustainable fishery futures - commercial fishing banned

It is these kind of stories, ones that go beyond the immediate or just superficial that demonstrate the power of photojournalism. 'I believe that photography can make a real connection to people and can be employed as a positive agent for understanding the challenged and opportunities facing our world today. 

Thus, in connection with the ongoing investigation around how the Anthropocene impacts on new media ecologies, it can be seen that the use of photography within the scope of journalism can play a vital role in exposing corrupt industry, and preserving the importance of cultural diversity by showing the uniqueness and beauty in native worldwide cultures, opening the public's eyes to worldwide disparity and animal conservation. All through capturing either incredibly beautiful and aesthetic images, or incredibly raw and graphic ones. All of which consider telling a story through composition, layout, colour, and how combining these images with words can really send out a message. In this way photojournalism somewhat mirrors graphic designs practice of using context, text, colour and layout to enhance the communication of the images.