Susie Linfield
[Writer and critic, New York, lives in New York.]

 Every image of barbarism—of immiseration, humiliation, terror, extermination—embraces its opposite, though sometimes unknowingly. Every image of suffering says not only, “This is so,” but also, by implication: “This must stop.” 
 Photographs excel, more than any other form of either art or journalism, in offering an immediate, viscerally emotional connection to the world…. [We] turn to photographs… for a glimpse of what cruelty, or strangeness, or beauty, or agony, or love, or disease, or natural wonder, or artistic creation, or depraved violence, looks like. 
 …images have become more extreme as political clarity has dissipated; this is, I think, no coincidence…. What happens to documentary photography—to the photography of witness—when it no longer has a politics it can support? 
 Photography is a proxy for modern life and its discontents, which may explain some of the high expectations, bitter disappointments, and pure vitriol it has engendered. 
 On the Internet all photographs are equal: including doctored, manipulated, or constructed photographs, and those without any meaningful—or with entirely false—contexts. 
 The ability of photographs to conjure deep emotion is one of their great strengths. But this power—precisely because it is divorced from narrative, political context, and analysis—is equally a danger. Ironically, the more searing an image… the more misleading it can be. 
 The best photographic portraits, like the best painted portraits, present us not with biographical information but with a soul. 
 ...we’re still not at all sure what photography is: is it news, art, entertainment, documentation, science, or surveillance? It tends to blur all those boundaries, which is exciting, but also bewildering and confusing. 
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