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5.
Case History
I offer the following as a response, albeit an incomplete one, to many
of the concerns expressed above. It is the story of a project produced
in the early days of the Web which attempted to create a photojournalism
that is responsive to world events, the readers concerns, and the
possibilities of utilizing the Web for more complex and pertinent communication.
Bosnia:
Uncertain Paths to Peace, was a Web site presented by the New
York Times for three months in the summer of 1996. It originated with
a suggestion that I made as consulting editor to the New York Times on
the Web near the end of 1995. The enthusiastic response of Kevin McKenna,
then the editorial director there, the support of Mark Bussell, a senior
editor, and the upscaling of the project by Martin Nisenholtz, president
of the New York Times Electronic Media Company, were crucial in making
this foray possible.
My choice of the photographer Gilles Peress to work on this project, someone
with whom I had collaborated on several other projects going back more
than 15 years, was out of respect for his commitment to photographing
the conflict in Bosnia over a number of years but most especially out
of respect for his ability to view himself as an author in the most complete
sense possible. I was aware from the very beginning that the photographer
would have to be centrally involved in the creation of such a project,
because all my years of working as a picture editor were insufficient
to the multi-linear, multi-media editing required. I could not simply
pick the best images and string them together, bemoaning the
imagery that had to be left out, but I needed the photographer to articulate
the multiple meanings of each image as a way of discerning the multiple
linkages to other images and other media. As the actual eyewitness who
was aware not only of what was within each frame but of that which remained
outside the frames, both spatially and temporally, the photographer had
to play a large role as author. In this need to interrogate every image
for possible meanings there was a sharper sense of my own distance as
editor from the events and people being depicted and, not surprisingly,
a heightened desire to understand them. (I think for example of the picture
of the dead man on the ground that I had selected from contact sheets
before Gilles returned from Bosnia but turned out to be an image of an
actor in a feature film already being made on the conflict in Sarajevo
just as the shelling had stopped.)
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