Somewhere
in my room – perhaps on my computer – is a photograph of my
mother when she was a child. It's a group picture, and in it there
are also my grandmother and several of my mother's siblings. I
suspect I could figure out my mother's age at the time by determining
which of her siblings are present in the picture and which aren't.
Perhaps they weren't born yet. And if I can gauge the ages of her
brothers and sisters I can guess at hers as well.
But
even though I love the picture, determining her age and the date of
the photograph are not too important. The sepia color of earlier
photographs had been replaced by black, and the clothes of the
subjects tell me that it's from early in the twentieth century, and
I'm more interested in the picture itself, than in my mother's age.
I'm interested in the formality
of the pose, the clothing, the facial expressions, and all that tells
me a little of the time. Not that I'm not concerned about my mother, but I have many pictures
of her and I prefer to remember the live and loving individual than
the pictures of her. For she, herself, was pretty as a picture. No,
so much prettier.
And
the same is true of a photograph of my father in 1916. He was 13 at
the time. It was probably taken a few years after the one of my
mother but that, too, is of little consequence. Those pictures, and
others, can give us some insight into those we recognize, but they
tell us more of the people we don't know, and the times in which they
were taken. For example, the sepia photograph of my grandfather
standing, and wearing a nice suit of the end of the nineteenth
century, in front of a painted backdrop, contains the only visual
memory of a man I never met, but
who was very important in his time to those in the New York Jewish
community, and very important to me since. And I have an elementary-school
class photograph showing my wife's mother which tells me a little of
a woman I only met many years later, and it illustrates a little of
the time in which she lived. And the panoramic photo of me with the
entire population of camp during my first year there (1946) tells a
different story, as do the three dimensional slides taken at my
brother-in-law's wedding. Similarly, the albums of memories of my
children's weddings remind me of those joyous events.
We
have alwaysi
looked for ways to record the world and our experiences for our own
information and to convey ideas to others. Long before there was any
recorded languageii
some form of homo erectus,
perhaps neanderthal, was “painting” pictures in caves.iii
Whether they were decorations, communications, or spiritual objects
isn't clear, but the need to record the world around them is clear.
That's
always been the case. Throughout subsequent history people have
produced pictures on vessels, jewelry, wall hangings, in book
illustrations, and wherever else they found the space. It was their
way of showing each other, and future generations, what they saw
around them. So the more the picture reflected reality, the better.iv
It
got to a point when paintings were an accurate representation of
reality, and we know much of our history because of them, but they
took a long time to produce and only resulted from a sincere desire
for art, or a commission. And soon enough the
desire for more imaginative images developed, and impressionism was
born. And then abstract art. The pictures still represented
reality, but the reality was the image that appeared in the artist's
mind.
But
although paintings were realistic, they weren't satisfactory as
evidence or as undeniable representations of what they depicted.
Something was needed that took less time and was more accurate, and
showed the reality that was lacking with paintings. Concurrently –
primarily in the nineteenth century – photography was being
developed. The concept of reproduction of permanent images by use of
a camerav
and material coated with light-sensitive material goes to Thomas
Wedgwood at about the turn of the nineteenth century, but his
pictures weren't light-fast. Nonetheless, he had a revolutionary
idea.
Many
experimenters followed, and Nicéphore
Niépce produced what is generally regarded as the first permanent
photograph in 1826vi
– a picture taken out his window. Not long after, in the mid
1850's, James Clerk Maxwell proposed a method of producing color
photographsvii
using colored filters, and the first example of this technique
displayed was by Thomas Sutton in 1861.
Many
others made rapid and significant improvements in both the apparatus
for taking the pictures, the materials of the picture itself, the
length of time necessary for a photograph, and the subject matter
shown. Numerous pictures by Matthew Brady during the American Civil
War (1861-1865) evidenced the war and the people of the time,
including President Lincoln.viii
His work provided actual documentation of the events of the day –
not representations filtered through the mind of the artist – and
earned him the designation of “first photojournalist.” And the
introduction of motion picturesix
made it possible to see accurate representations of the events of the
time. They were very accurate, and they were quickly adopted into
our culture and that of countries around the world. They could be
used to record reality in a way that was unmatched.x
They served to document an era.xi
But, in addition to documenting the times,
pictures can also mislead. The second commandmentxii
makes it clear that the representation of animals and people should
be forbidden. The purpose was to prevent any such representation
from being worshiped, but it was also recognized that there was no
way in which any picture of G-d could actually illustrate His true
nature. And, in the eyes of believers, that made any pictures –
paintings and photographs among them – inherently undesirable and
unacceptable. For others, any photographic intrusion should be
avoided.xiii
As did the development of methods to convey misimpressions using
photographs. They could be as simple as cropping someone out of a
picture so as to misrepresent a situation, or as sophisticated as the
insertion of someone into a picture, which was done so often, and
with such apparent reality, as in “Zelig.”xiv
There
is also the objection by many who object to the intrusion on their
privacy that the medium presents. Those who are prominent hate the
paparazzi. For many of the rest of us the surveillance has become so
commonplacexv
that it is oppressive. It is incontestable that such surveillance
cuts down on crimexvi
and makes the evaluation of those activities more manageable. But it
also gives people the feeling that they live in a society in which
they're constantly being watched – the world of 1984 and Big
Brother.xvii
It gives them that feeling because it's true.
And
with Photoshop-type “corrections” and falsifications of manifest
and tangible beings and objects, it is no longer possible to believe
such reproductions as appear to be genuine. Sometimes they're just
selected frames from a longer video or a short strip intended to make
a particular point. Like sound bites taken out of context, so are
these “sight bites.” Add to that the fact that everyone has a
video camera nowadays. They started out as car telephones but
they've metamorphosed quickly. Now everyone can document or falsify
as he sees fit. It started out with cave paintings over 40,000 years
ago and took until only a little over two centuries ago before we got
to what we know as photography, and another century and a half before
we worked out the kinks. We had gone from representations of what
was around us to a medium that we could rely on for truth. How
quickly we've learned to pervert it and use it for our own purposes.
I can trust the photos of my ancestors. Will my great-grandchildren
take pictures of me seriously? I doubt it.
Ain't
science wonderful?
Next
episode: “Jihad,
Rape, And Profiling”
– More on our view of reality.
i Whatever
that means.
ii No
way existed to record it. Although some form of language probably
developed between a few hundred thousand and a few million years ago
– it's a topic of major dispute since there's no way to determine
it for certain – it was only a little over five thousand years ago
that written language came on the scene as anything other than a
device for counting.
iii The
oldest cave paintings are dated about 40,000 BCE.
iv Sometimes,
especially in portraits, reality needed a little help in order that
future generations better appreciated the true nature of the
individual being depicted.
v The
“camera obscura” had been around for a long time. Chinese
philosopher Mo Ti (Fifth Century BCE) had notice the inverted image
produced by the pinhole device and traced the image to form a
picture.
vi More
or less. Dates of 1825, 1826, and 1827 are found in various places.
vii As
early as 1848, a color photograph was demonstrated but the colors
were extremely light-sensitive and could only be seen for a short
time and in dim light.
viii Actually,
Brady's first photo of Lincoln was in 1860 while he was running for
office.
ix Movies,
not flip-book “moving pictures.”
x They're
also often a waste of both time and space. Facebook
et al
produce more pictures than we know what to do with. Most are
personal or cute and are of little documentary value, except
personally. Most are not altered but they're not very interesting.
xi “Dearie,
do you remember when they waltzed to the Sousa Band. My wasn't the
music grand. ...”
xii And
its explication in ancient Jewish texts.
xiii There
were other reasons to reject this form of documentation. The
phtographing of a party they attended was the trigger event for the
Harvard Law Review article in 1890, by Warren and Brandeis by which
the concept of privacy was popularized.
xiv Soon
enough, using three D printers and artificial intelligence, we'll be
able to keep our ancestors with us as long as we live.
xv Including
units that document all police activity.
xvi As
well as our running red lights.
xvii It's
a little paradoxical that our society has embraced all forms of
technology that utilize tracking chips, like GPS elements. Those in
control – like the government – can monitor all our movements
this way. People disparage surveillance when they think they don't
control it, but are eager to adopt the technology when they think it
is helpful.