or a society. But equally startling developments lie already just beyond our finger-tips in the breeding of human beings and the shaping of human nature. (Friends of Photography 1972:49) is right to say that The camera constantly trips up the artist by loyally going on being a recorder of reality. Becker, Howard., and Irving Louis Horowitz 1972 Radical Politics and Sociological Research: Observations on Methodology and Ideology. I have touched upon this sphere only lightly, but with the purpose of pointing out that, in a future which our children may live to see, powers will be in the hands of men altogether different from any by which human nature has been moulded. He should not keep away from the people he is working with, shooting from a distance with a long lens, but rather should get up close and establish a working relationship with them, such that they expect him to be there and accept that. Laymen may believe this, but photographers know better. Finally, as in Smiths essay on pollution in Minamata, the photographer may include an extensive explanatory and analytic text.
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The law here seems to be as ambiguous as the ethical standards of sociologists. Sociologists might well work at the job of continuously refining not only their concepts and measures but also their basic imagery, relying on that refinement more than they have to clear up theoretical and technical muddles. Lee Friedlander, Garry Winogrand (Davidson. Colliers book is a classic, and required reading for anyone interested in these problems. Accepting that status also allows them the quasi-mystical retreat essay on product safety from analyzing the social components of their work and the emphasis on intuitive inarticulateness I criticized earlier. The photographer pursues these questions with his camera, but also by asking people about what he has seen and by observing closely and listening carefully as the everyday activities of the group go on around him. He learns the second in part in the same way. Since photographers seldom produce explicit analyses of social problems, they are less likely to confront this problem directly. There is nothing in photography quite like such major works of social science as Warners Yankee City Series, Lynds Middletown and Middletown in Transition, and Hughes French Canada in Transition. We look back fifty years and see that the speed is constantly quickening. The logic of this deserves further analysis, since it is convincing (there are other such devices which need to be described and analyzed). Linking devices are well used.
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