Suffering in Photographs

Painful pictures in the pictures are used to record the history, but the selected pictures do. These images are often graphically depicting human atrocities. Susan Sontag asked in his book "Others' Pain", "What does it mean to protest against pain, unlike acknowledging pain?" In order to protest against pain, a certain moral decision is necessary. In other words, the content displayed in the picture is incorrect and the viewer wants to change this.

I am always told that I glanced at the camera. But I am influenced by photography. I point the camera towards me, I am stiff, have a sad smile, and my body language screams "Let's see that devilish device! Now !!!" It was tortured. The first person is me for 8 months. Among the family of my mother, I was the first child, so I grew spoiled clearly. My mother has three brothers, so that's a big surprise! One day, one of my uncle decided he wanted at least one of my pictures. This was in the middle of 1985, household cameras were rare. So, he took me to the photo studio to take a picture. According to family history, he spent more than 30 minutes to make me smile, but I refused. So, I took a picture of me, and the glare is intact!

Taking pictures is always accompanied by some ethical conflict. Differences in race, wealth, ethnic identity, or natural disaster exacerbate this problem. Have you robbed children suffering to raise awareness or are you at risk of being exploited or are you at risk of compromising your child left behind from the camera? These are ancient and complex problems. But now I am thinking about simpler things. The choice of baldness looks cruel. Do you stare at the camera, laugh, do sneaky things, downgrade someone different from yourself? Our world, our viewing practices of today are susceptible to cruel abuse as well as early (and continuing) colonial relations with Puerto Rico America.

This picture does not tell us anything we do not know yet, but it provides us a story of Aleppo's destruction and future suffering. In a recent article on ethics of immigration crisis, Magnum Photos provides this compelling foresight (at least for the purpose of the immediate picture). I do not know where they are and I do not know whether they can survive or not. But we know that there are images to remind people that they lived in Aleppo after they left the box and the rest of the pictures were replaced by corpses or government troops. Hope, escape