How does one photograph trauma and maintain a genuine sensitivity to his or her subject?
In early December, The New York Post drew criticism for its cover photo of a man seconds before he was hit by a train. It was unnerving that a photographer could value capturing a moment over intervening to help the man. Photographing disaster has been a sensitive issue since Robert Capa’s infamous Death of a Loyalist image, and is especially relevant in wake of the devastating effects of Hurricane Sandy. How does one photograph trauma and maintain a genuine sensitivity to his or her subject?
Since Sandy hit, Timothy Briner has photographed neighborhoods in Brighton Beach and Coney Island, documenting their preparation, experience, and efforts to rebuild from the storm. Instead of taking a "shoot and run" approach, Briner has inserted himself into the affected communities, produced a substantial body of inspiring images, and has returned multiple times to rephotograph and check up on the people he originally captured.
Paying it forward, Timothy has created GOOD's next photographic DO: Make a portrait of someone who has gone out of their way for you. To fulfill this Field Work Assignment, tweet the photo to us @GOOD with the hashtag #Fieldwork with a sentence about what they did.
Christmas Tree, Searise II Housing Development, Coney Island, NY, December 25, 2012.
A family poses for a photograph after receiving Christmas presents and clothing from the New Church International on Neptune Avenue in Coney Island. December 23, 2012.
Parachute Jump, Coney Island, NY, December 23, 2012
A couple embrace after participating in The Coney Island Polar Bear Club New Years Day Plunge, Coney Island, NY, January 1, 2013.
We’re challenging the GOOD community to commit our time to service. Go here to pledge 1 percent of your time—that’s 20 hours—being part of the solution this year.
Photos courtesy of Timothy Briner
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