Okay, so 90 percent of my photographic process is, in fact, not photographic. It involves a campaign of letter writing, research and phone calls to access my subjects, which can range from Hamas leaders in Gaza to a hibernating black bear in its cave in West Virginia. And oddly, the most notable letter of rejection I ever received came from Walt Disney World, a seemingly innocuous site.
Znači, 90 posto mojeg fotografskog procesa ustvari nije fotografsko. Ono uključuje kampanju sadržanu od pisanja pisama, istraživanja i telefonskih poziva kojima pristupam svojim subjektima, koji variraju od vođa Hamasa u Gazi do crnog medvjeda koji hibernira u svojoj špilji u Zapadnoj Virginiji. I začudo, najznačajnije pismo odbijanja koje sam ikada primila došlo je od Walt Disney World-a, naizgled bezopasnog mjesta.
And it read -- I'm just going to read a key sentence: "Especially during these violent times, I personally believe that the magical spell cast upon guests who visit our theme parks is particularly important to protect and helps to provide them with an important fantasy they can escape to."
Pisalo je - pročitat ću glavnu rečenicu: "Pogotovo, tijekom ovih nasilnih vremena, osobno vjerujem kako je čaroliju, koja vlada posjetiteljima našeg tematskog parka, posebno važno zaštititi, i da pomaže osigurati važnu fantaziju kojoj mogu pribjeći."
Photography threatens fantasy. They didn't want to let my camera in because it confronts constructed realities, myths and beliefs, and provides what appears to be evidence of a truth. But there are multiple truths attached to every image, depending on the creator's intention, the viewer and the context in which it is presented.
Fotografija prijeti fantaziji. Nisu htjeli pustiti kameru unutra jer se ona suprotstavlja konstruiranim stvarnostima, mitovima i vjerovanjima, i pruža nešto što se čini dokazom istine. Ali postoje višestruke istine vezane za svaku sliku, ovisno o autorovoj namjeri, o promatraču, i o kontekstu u kojem je prezentirana.
Over a five year period following September 11th, when the American media and government were seeking hidden and unknown sites beyond its borders, most notably weapons of mass destruction, I chose to look inward at that which was integral to America's foundation, mythology and daily functioning. I wanted to confront the boundaries of the citizen, self-imposed and real, and confront the divide between privileged and public access to knowledge.
Tijekom petogodišnjeg perioda, nakon 11. rujna, kada su američki mediji i vlada tražili skrivena i nepoznata mjesta izvan vlastitih granica, osobito oružja masovnog uništenja, odabrala sam gledati unutra, u integralni dio američkih temelja, mitologiju i svakodnevno funkcioniranje. Htjela sam suprotstaviti granice građana, samo-nametnute i stvarne, kao i podjelu između privilegiranog i javnog pristupa znanju.
It was a critical moment in American history and global history where one felt they didn't have access to accurate information. And I wanted to see the center with my own eyes, but what I came away with is a photograph. And it's just another place from which to observe, and the understanding that there are no absolute, all-knowing insiders. And the outsider can never really reach the core.
Bio je to kritičan trenutak u američkoj i globalnoj povijesti gdje se mogla osjetiti nemogućnost pristupa točnim informacijama. Htjela sam vidjeti središte vlastitim očima, ali iznjedrila se fotografija. I to je samo još jedno mjesto za promatranje i razumijevanje kako ne postoje apsolutni, sveznajući insajderi. Onaj izvana nikada ne može u potpunosti dosegnuti srž.
I'm going to run through some of the photographs in this series. It's titled, "An American Index of the Hidden and Unfamiliar," and it's comprised of nearly 70 images. In this context I'll just show you a few. This is a nuclear waste storage and encapsulation facility at Hanford site in Washington State, where there are over 1,900 stainless steel capsules containing nuclear waste submerged in water. A human standing in front of an unprotected capsule would die instantly. And I found one section amongst all of these that actually resembled the outline of the United States of America, which you can see here.
Prelistati ću neke fotografije iz ovog serijala. Zove se "Američki indeks skrivenog i nepoznatog", i sastoji se od skoro 70 slika. U ovome kontekstu pokazati ću ih samo nekoliko. Ovo je skladište i objekt za oblaganje nuklearnog otpada u Hanfordu, u državi Washington, gdje se nalazi više od 1900 kapsula od nehrđajućeg čelika koje sadržavaju nuklearni otpad, potopljen u vodi. Čovjek koji bi se našao pred nezaštićenom kapsulom, umro bi na mjestu. Pronašla sam jedan dio među svima, koji je nalikovao na obris Sjedinjenih Američkih Država, što možete vidjeti ovdje.
And a big part of the work that is sort of absent in this context is text. So I create these two poles. Every image is accompanied with a very detailed factual text. And what I'm most interested in is the invisible space between a text and its accompanying image, and how the image is transformed by the text and the text by the image. So, at best, the image is meant to float away into abstraction and multiple truths and fantasy. And then the text functions as this cruel anchor that kind of nails it to the ground. But in this context I'm just going to read an abridged version of those texts.
Veliki dio rada koji izostaje u ovome kontekstu je tekst. Zato kreiram dva pola. Svaku sliku prati detaljan činjenični tekst. I ono što mene najviše interesira je nevidljivi prostor između teksta i pripadajuće slike, te kako tekst transformira sliku, a slika tekst. U idealnom slučaju, slika odpluta u apstrakciju, i višestruke istine, i fantaziju. Tekst tada funkcionira kao okrutno sidro koje ga pričvršćuje za dno. U ovome kontekstu pročitati ću skraćenu verziju tih tekstova.
This is a cryopreservation unit, and it holds the bodies of the wife and mother of cryonics pioneer Robert Ettinger, who hoped to be awoken one day to extended life in good health, with advancements in science and technology, all for the cost of 35 thousand dollars, for forever.
Ovo je krionička jedinica i u njoj se nalaze tijela majke i žene pionira krionike, Roberta Ettingera, koji se nadao probuditi jednoga dana u produženom životu, u dobrome zdravlju, s napretkom u znanosti i tehnologiji, i sve to za cijenu od 35.000 dolara, zauvijek.
This is a 21-year-old Palestinian woman undergoing hymenoplasty. Hymenoplasty is a surgical procedure which restores the virginal state, allowing her to adhere to certain cultural expectations regarding virginity and marriage. So it essentially reconstructs a ruptured hymen, allowing her to bleed upon having sexual intercourse, to simulate the loss of virginity.
Ovo je dvadesetjednogodišnja Palestinka tijekom himenoplastike. Himenoplastika je kirurški zahvat tijekom kojeg se vraća djevičanstvo, i kojim joj je omogućeno održati određena kulturna očekivanja vezana za nevinost i brak. U suštini, time se rekonstruira puknuti himen zbog čega je seksualni odnos popraćen krvarenjem koje simulira gubitak nevinosti.
This is a jury simulation deliberation room, and you can see beyond that two-way mirror jury advisers standing in a room behind the mirror. And they observe deliberations after mock trial proceedings so that they can better advise their clients how to adjust their trial strategy to have the outcome that they're hoping for. This process costs 60,000 dollars.
Ovo je simulacija porotničke vijećnice, i, kao što možete vidjeti, iza dvostranog ogledala savjetnici porote stoje u sobi iza ogledala. Promatraju vijećanje nakon lažnog sudbenog postupka kako bi mogli adekvatnije savjetovati klijente o prilagodbi svojih proceduralnih strategija za postizanje željenog ishoda. Ovaj proces košta 60.000 dolara.
This is a U.S. Customs and Border Protection room, a contraband room, at John F. Kennedy International Airport. On that table you can see 48 hours' worth of seized goods from passengers entering in to the United States. There is a pig's head and African cane rats. And part of my photographic work is I'm not just documenting what's there. I do take certain liberties and intervene. And in this I really wanted it to resemble an early still-life painting, so I spent some time with the smells and items.
Ovo je prostor carinske i pogranične zaštite Sjedinjenih Država, soba za krijumičarenje u međunarodnoj zrakoplovnoj luci John F. Kennedy. Na stolu se može vidjeti roba zaplijenjena tijekom 48 sati od putnika na ulasku u Sjedinjene Države. Vidimo svinjsku glavu i afričke štakore. Dio mojega fotografskog rada nije samo dokumentiranje onoga što je tamo. Dajem si određenu slobodu i interveniram. I u tome sam htjela nalikovati ranoj slici mrtve prirode pa sam provela neko vrijeme s mirisima i predmetima.
This is the exhibited art on the walls of the CIA in Langley, Virginia, their original headquarters building. And the CIA has had a long history with both covert and public cultural diplomacy efforts. And it's speculated that some of their interest in the arts was designed to counter Soviet communism and promote what it considered to be pro-American thoughts and aesthetics. And one of the art forms that elicited the interest of the agency, and had thus come under question, is abstract expressionism.
Ovo je umjetnost izložena na zidovima CIA-e u Langleyju, Virginiji, njihovom originalnom glavnom sjedištu. CIA ima dugu povijest prikrivenih i javnih angažmana u kulturnoj diplomaciji. Spekulira se kako je dio njezina interesa za umjetnost osmišljeno kao protuteža sovjetskom komunizmu i promocija onoga što se smatralo pro-američkom mišlju i estetikom. Jedan od umjetničkih oblika koji je izazvao interes agencije i zbog toga postao upitan, bio je apstraktni ekspresionizam.
This is the Forensic Anthropology Research Facility, and on a six acre plot there are approximately 75 cadavers at any given time that are being studied by forensic anthropologists and researchers who are interested in monitoring a rate of corpse decomposition. And in this particular photograph the body of a young boy has been used to reenact a crime scene.
Ovo je Postrojenje za istraživanja u forenzičkoj antropologiji i prostire se na zemljištu veličine 6 jutara, gdje se u svako doba nalazi oko 75 leševa koje proučavaju forenzički antropolozi i istraživači zainteresirani za mjerenje brzine raspadanja leševa. I na ovoj konkretnoj fotografiji je tijelo mladoga dječaka iskorišteno za uprizorenje scene zločina.
This is the only federally funded site where it is legal to cultivate cannabis for scientific research in the United States. It's a research crop marijuana grow room.
Ovo je jedino federalno financirano mjesto gdje je legalno uzgajati kanabis za znanstvena istraživanja u Sjedinjenim Državama. To je soba za istraživanje rasta usjeva marihuane.
And part of the work that I hope for is that there is a sort of disorienting entropy where you can't find any discernible formula in how these things -- they sort of awkwardly jump from government to science to religion to security -- and you can't completely understand how information is being distributed.
Dio rada kojem se nadam je da postoji svojevrsna dezorijentirajuća entropija u kojoj ne postoji primjetna formula za ove stvari - one nespretno skaču s vlade na znanost, na vjeru, na osiguranje, i ne možete u potpunosti shvatiti kako se informacija distribuira.
These are transatlantic submarine communication cables that travel across the floor of the Atlantic Ocean, connecting North America to Europe. They carry over 60 million simultaneous voice conversations, and in a lot of the government and technology sites there was just this very apparent vulnerability. This one is almost humorous because it feels like I could just snip all of that conversation in one easy cut. But stuff did feel like it could have been taken 30 or 40 years ago, like it was locked in the Cold War era and hadn't necessarily progressed.
Postoje transatlantički podvodni kablovi za komunikaciju koji putuju diljem dna Atlantskog oceana, povezujući Sjevernu Ameriku s Europom. Nose više od 60 milijuna simultanih razgovora, i na mnogim vladinim i tehnološkim lokacijama postojala je očigledna ranjivost. Ovo zvuči duhovito jer se čini kao da bih mogla prekinuti svu tu konverzaciju jednim jednostavnim rezom. Ali stvari su se činile kao da su 30 ili 40 godina iz prošlosti, zaključane u eri Hladnog rata i nisu nužno napredovale.
This is a Braille edition of Playboy magazine. (Laughter) And this is ... a division of the Library of Congress produces a free national library service for the blind and visually impaired, and the publications they choose to publish are based on reader popularity. And Playboy is always in the top few. (Laughter) But you'd be surprised, they don't do the photographs. It's just the text. (Laughter)
Ovo je Braillova edicija Playboy magazina. (Smijeh) A ovo je... odijeljenje Kongresne knjižnice pruža besplatne knjižničke usluge za slijepe i slabovidne, i publikacije koje objavljuju bazirane su na popularnosti među čitateljstvom. I Playboy je uvijek u nekoliko najpopularnijih. (Smijeh) Ali začudili biste se, nema fotografija. Postoji samo tekst. (Smijeh)
This is an avian quarantine facility where all imported birds coming into America are required to undergo a 30-day quarantine, where they are tested for diseases including Exotic Newcastle Disease and Avian Influenza. This film shows the testing of a new explosive fill on a warhead. And the Air Armament Center at Eglin Air Force Base in Florida is responsible for the deployment and testing of all air-delivered weaponry coming from the United States. And the film was shot on 72 millimeter, government-issue film. And that red dot is a marking on the government-issue film.
Ovo je ptičja karantena gdje sve ptice koje stignu u Ameriku podliježu tridesetodnevnoj karanteni, gdje su testirane na bolesti, uključujući egzotični Newcastle virus i ptičju gripu. Ovaj film pokazuje testiranje novog eksplozivnog punjenja na bojnoj glavi. Centar za zračno naoružanje u Eglinovoj Air Force bazi u Floridi odgovoran je za razvoj i ispitivanje cijelog zračnog naoružanja koje dolazi iz Sjedinjenih Država. Film je snimljen na 72-milimetarskoj traci, po vladinom nalogu. Ova crvena točka je oznaka filma po vladinom nalogu.
All living white tigers in North America are the result of selective inbreeding -- that would be mother to son, father to daughter, sister to brother -- to allow for the genetic conditions that create a salable white tiger. Meaning white fur, ice blue eyes, a pink nose. And the majority of these white tigers are not born in a salable state and are killed at birth. It's a very violent process that is little known. And the white tiger is obviously celebrated in several forms of entertainment. Kenny was born. He actually made it to adulthood. He has since passed away, but was mentally retarded and suffers from severe bone abnormalities.
Svi živući bijeli tigrovi u Sjevernoj Americi rezultat su selektivnog srodničkog parenja majke sa sinom, oca sa kćeri, sestre sa bratom - kako bi se ostvarili genetski uvjeti koji stvaraju kurentnog bijelog tigra. Točnije, s bijelim krznom, ledeno plavim očima, ružičastim nosom. Većina bijelih tigrova nisu rođeni u takvome stanju i bivaju ubijeni pri rođenju. Ovaj nasilan proces malo je poznat. A bijeli tigar je očigledno slavljen u nekoliko zabavljačkih vrsta. Kenny je rođen. Doživio je odraslost. Tada je uginuo, ali je bio mentalno retardiran i bolovao od teških koštanih abnormalnosti.
This, on a lighter note, is at George Lucas' personal archive. This is the Death Star. And it's shown here in its true orientation. In the context of "Star Wars: Return of the Jedi," its mirror image is presented. They flip the negative. And you can see the photoetched brass detailing, and the painted acrylic facade. In the context of the film, this is a deep-space battle station of the Galactic Empire, capable of annihilating planets and civilizations, and in reality it measures about four feet by two feet. (Laughter)
Sa svjetlije strane, ovo je u osobnoj arhivi Georgea Lucasa. Ovo je Zvijezda smrti. Ovdje je pokazana u pravoj orijentaciji. U kontekstu filma Ratovi zvijezda: Povratak Jedija prikazana je njezina zrcalna slika. Prikazan je negativ. Možete vidjeti urezane detalje na mesingu i oslikanu akrilnu fasadu. U kontekstu filma, ovo je vojna postaja Galaktičkog carstva u dubokome svemiru sposobnog uništiti planete i civilizacije a u stvarnosti je velika 4x2 stope. (Smijeh)
This is at Fort Campbell in Kentucky. It's a Military Operations on Urbanized Terrain site. Essentially they've simulated a city for urban combat, and this is one of the structures that exists in that city. It's called the World Church of God. It's supposed to be a generic site of worship. And after I took this photograph, they constructed a wall around the World Church of God to mimic the set-up of mosques in Afghanistan or Iraq. And I worked with Mehta Vihar who creates virtual simulations for the army for tactical practice. And we put that wall around the World Church of God, and also used the characters and vehicles and explosions that are offered in the video games for the army. And I put them into my photograph.
Ovo je Fort Campbell u Kentuckyju. Ovo je prostor za vojne operacije na urbaniziranom terenu. U srži, simuliran je grad za urbane borbe i ovo je jedna od struktura koja postoji u tome gradu. Zove se Svjetska Božja crkva. Predstavlja generičko mjesto štovanja. Nakon što sam ovo fotografirala, sagrađen je zid oko Svjetske Božje crkve koji je imitirao džamije u Afganistanu ili Iraku. I radila sam s Mehtom Viharom koji stvara virtualne simulacije za vojsku, za taktičke vježbe. Stavili smo zid oko Crkve i koristili likove, vozila i eksplozije ponuđene u video igrama za vojsku. Stavila sam ih u svoju fotografiju.
This is live HIV virus at Harvard Medical School, who is working with the U.S. Government to develop sterilizing immunity.
To je živi virus HIV-a na harvardovom Medicinskom fakultetu, koji radi s vladom Sjedinjenih Država na razvoju sterilizirajućeg imuniteta.
And Alhurra is a U.S. Government- sponsored Arabic language television network that distributes news and information to over 22 countries in the Arab world. It runs 24 hours a day, commercial free. However, it's illegal to broadcast Alhurra within the United States. And in 2004, they developed a channel called Alhurra Iraq, which specifically deals with events occurring in Iraq and is broadcast to Iraq.
Sponzorirana od strane američke vlade, Alhurra je televizijska mreža na arapskome jeziku koja distribuira vijesti i informacije u više od 22 zemlje arapskoga svijeta. Emitira 24 sata dnevno, bez reklama. Međutim, ilegalno je emitirati ju unutar Sjedinjenih Država. 2004. razvijen je Alhurra Irak, program specijaliziran za događaje vezane za Irak koji se emitira u Iraku.
Now I'm going to move on to another project I did. It's titled "The Innocents." And for the men in these photographs, photography had been used to create a fantasy. Contradicting its function as evidence of a truth, in these instances it furthered the fabrication of a lie. I traveled across the United States photographing men and women who had been wrongfully convicted of crimes they did not commit, violent crimes.
Sad se prebacujem na svoj drugi projekt. Zove se "Nevini". I za ljude ovdje, fotografija je iskorištena za stvaranje fantazije. Proturječno svojoj funkciji, kao dokaz istini, u ovim slučajevima je potpomogla konstruiranju laži. Putovala sam diljem Amerike fotografirajući muškarce i žene, pogrešno osuđene za zločine koje nisu počinili, nasilne zločine.
I investigate photography's ability to blur truth and fiction, and its influence on memory, which can lead to severe, even lethal consequences. For the men in these photographs, the primary cause of their wrongful conviction was mistaken identification. A victim or eyewitness identifies a suspected perpetrator through law enforcement's use of images. But through exposure to composite sketches, Polaroids, mug shots and line-ups, eyewitness testimony can change.
Istražujem sposobnost fotografije da zamagli istinu i fikciju, i njezin utjecaj na sjećanje koji može dovesti do teških, čak smrtonosnih posljedica. Za ljude na ovim fotografijama osnovni razlog njihove netočne osude bila je zabuna u identifikaciji. Žrtva ili svjedok identificira osumnjičenika koristeći fotografije na zakonski reguliran način. No, kroz izloženost sastavljenim licima na crtežima, polaroidima, policijskim slikama i postrojavanjima, iskaz svjedoka može se promijeniti.
I'll give you an example from a case. A woman was raped and presented with a series of photographs from which to identify her attacker. She saw some similarities in one of the photographs, but couldn't quite make a positive identification. Days later, she is presented with another photo array of all new photographs, except that one photograph that she had some draw to from the earlier array is repeated in the second array. And a positive identification is made because the photograph replaced the memory, if there ever was an actual memory.
Dat ću vam primjer jednoga slučaja. Žena je silovana te joj je ponuđen niz fotografija od kojih je trebala identificirati napadača. Vidjela je neke sličnosti s licem na jednoj od fotografija, ali ga nije mogla definitivno identificirati, Danima kasnije, nanovo joj je pokazano mnoštvo fotografija, sve nove, osim one jedne koja je privukla njezinu pažnju iz protekle skupine fotografija. Tada je sa sigurnošću identificirala počinitelja jer je fotografija zamijenila sjećanje, ako je stvarno ikada i postojalo.
Photography offered the criminal justice system a tool that transformed innocent citizens into criminals, and the criminal justice system failed to recognize the limitations of relying on photographic identifications.
Fotografija ponuđena u kaznenom pravosuđu oruđe je koje transformira nevine građane u kriminalce, a pravosuđe ne prepoznaje svoja ograničenja kada se oslanja na fotografske identifikacije.
Frederick Daye, who is photographed at his alibi location, where 13 witnesses placed him at the time of the crime. He was convicted by an all-white jury of rape, kidnapping and vehicle theft. And he served 10 years of a life sentence. Now DNA exonerated Frederick and it also implicated another man who was serving time in prison. But the victim refused to press charges because she claimed that law enforcement had permanently altered her memory through the use of Frederick's photograph.
Frederick Daye, fotografiran na lokaciji koja mu je pružila alibi, gdje ga je 13 svjedoka smjestilo za vrijeme počinjenja zločina. Osudila ga je bjelačka porota za silovanje, otmicu i krađu vozila. Odslužio je 10 godina kazne. DNK je oslobodio Fredericka i upleo drugog čovjeka koji je služio zatvorsku kaznu. Žrtva je odbila tužiti s tvrdnjom da joj je pravosudni sustav trajno promijenio sjećanje korištenjem Frederickove fotografije.
Charles Fain was convicted of kidnapping, rape and murder of a young girl walking to school. He served 18 years of a death sentence. I photographed him at the scene of the crime at the Snake River in Idaho. And I photographed all of the wrongfully convicted at sites that came to particular significance in the history of their wrongful conviction. The scene of arrest, the scene of misidentification, the alibi location. And here, the scene of the crime, it's this place to which he's never been, but changed his life forever. So photographing there, I was hoping to highlight the tenuous relationship between truth and fiction, in both his life and in photography.
Charles Fain je osuđen za otmicu, silovanje i ubojstvo mlade djevojke na povratku iz škole. Služio je 18 godina kazne smrću. Fotografirala sam ga na mjestu zločina u Snake Riveru, Idaho. Fotografirala sam sve pogrešno osuđene na mjestima koja su postala posebno značajna u povijesti njihovih pogrešnih osuda. Scena uhićenja, scena pogrešne identifikacije, lokacija alibija. I ovdje, mjesto zločina je lokacija na kojoj nikada nisu bili, a koja im je zauvijek promijenila život. Fotografirajući tamo, htjela sam naglasiti čvrstu vezu između istine i fikcije u njihovom životu, i također u fotografiji.
Calvin Washington was convicted of capital murder. He served 13 years of a life sentence in Waco, Texas.
Calvin Washington je osuđen zbog umorstva iz umišljaja. Odslužio je 13 godina kazne u Waco-u, Teksas.
Larry Mayes, I photographed at the scene of arrest, where he hid between two mattresses in Gary, Indiana, in this very room to hide from the police. He ended up serving 18 and a half years of an 80 year sentence for rape and robbery. The victim failed to identify Larry in two live lineups and then made a positive identification, days later, from a photo array.
Larryja Mayesa sam fotografirala na mjestu uhićenja gdje se sakrio među madracima u Garyju, Indiana, od policije, upravo u ovoj sobi. Na kraju je odslužio 18 i po godina od sveukupno 80 godina kazne za silovanje i pljačku. Žrtva nije uspjela identificirati Larryja tijekom dva postrojenja, ali ga je definitivno identificirala danima kasnije iz mnoštva fotografija.
Larry Youngblood served eight years of a 10 and half year sentence in Arizona for the abduction and repeated sodomizing of a 10 year old boy at a carnival. He is photographed at his alibi location.
Larry Youngblood je odslužio 8 od 10 i pol godina kazne u Arizoni za otmicu i opetovano sodomiziranje desetogodišnjaka na karnevalu. Fotografiran je na mjestu svojeg alibija.
Ron Williamson. Ron was convicted of the rape and murder of a barmaid at a club, and served 11 years of a death sentence. I photographed Ron at a baseball field because he had been drafted to the Oakland A's to play professional baseball just before his conviction. And the state's key witness in Ron's case was, in the end, the actual perpetrator.
Ron Williamson. Ron je osuđen za silovanje i ubojstvo konobarice u klubu i odlsužio je 11 godina smrtne kazne. Fotografirala sam Rona na bejzbol terenu zato što je unovačen u Oakland A momčad kako bi se bavio profesionalnim bejzbolom neposredno prije osude. Ključni državni svjedok u Ronovu slučaju na kraju je bio sam počinitelj.
Ronald Jones served eight years of a death sentence for rape and murder of a 28-year-old woman. I photographed him at the scene of arrest in Chicago.
Ronald Jones je odslužio 8 godina smrtne kazne za silovanje i umorstvo 28-godišnjakinje. Fotografirala sam ga na mjestu uhićenja u Chicagou.
William Gregory was convicted of rape and burglary. He served seven years of a 70 year sentence in Kentucky.
William Gregory je osuđen za provalu i silovanje. Odslužio je 7 od 70 godina kazne u Kentuckyju.
Timothy Durham, who I photographed at his alibi location where 11 witnesses placed him at the time of the crime, was convicted of 3.5 years of a 3220 year sentence, for several charges of rape and robbery. He had been misidentified by an 11-year-old victim.
Timothy Durham, kojeg sam fotografirala na lokaciji alibija, gdje ga je jedanaestero ljudi smjestilo za vrijeme zločina, osuđen je na 3.5 od 3220 godina kazne za nekoliko optužbi silovanja i pljački. Pogrešno ga je identificirala jedanaestogodišnja žrtva.
Troy Webb is photographed here at the scene of the crime in Virginia. He was convicted of rape, kidnapping and robbery, and served seven years of a 47 year sentence. Troy's picture was in a photo array that the victim tentatively had some draw toward, but said he looked too old. The police went and found a photograph of Troy Webb from four years earlier, which they entered into a photo array days later, and he was positively identified.
Troy Webb je fotografiran na mjestu zločina u Virginiji. Osuđen za silovanje, otmicu i pljačku, odslužio je 7 od 47 godina kazne. Troyeva slika bila je među mnoštvom u kojem je privukla određenu pozornost žrtve, premda je optuženi izgledao prestar. Policija je pronašla fotografije četiri godine mlađeg Troya Webba te ih je dan kasnije uvrstila u skup fotografija iz kojeg je bio pozitivno identificiran.
Now I'm going to leave you with a self portrait. And it reiterates that distortion is a constant, and our eyes are easily deceived. That's it. Thank you. (Applause)
Sad vas ostavljam s autoportretom. I on ponavlja kako je distorzija konstantna, i naše se oči lagano zavaraju. To je sve. Hvala. (Pljesak)