Framing The World Through My Photographs
Khamissy has studied fine art at a university in Lebanon, when being expose to the countries civil war she became vastly interested in documentary photography. Khamissy experience photography in the field as well as behind the desk as she became photo editor for AP, which as the war progress it took up more of her spare time. This left Khamissy without a camera for 8 months which gave her plenty of thinking time to figure out what she wanted to produce.
As Khamissy was living in Lebanon at the time of the war she began to realise how little privacy there was when something like a war is happening, the press turn up.and with out thought for the people and what it would be like to live though it, they turn up and photograph it with little empathy.
Khamissy decided she would start a photographic project focusing on the kidnaps that took place during the war, in which she entitled “The Missing”. The work was made collaborativly with the mothers of the missing, as they would search for their missing loved ones whilst the fathers would go to work. Khamissy didn’t want the project to depict the mothers directly, instead she photographed the homes.
Khamissy discusses in the interview how the civil war is never taught in schools today in Lebanon as those that are in power have had an influence in what happened. The narrative of this war has not yet been fully decided but it is passed down through family this follows on from what i heard in david campbells talk about history where an event needs to be narrated to be able to provide proof of what happened.
The youth of Lebanon have a fragmented view over what the civil war was like as they have heard different versions of the event not one collective view of what happened which can in turn lead to a misrepresentation. Truth comes with the power of authority, we think of the images triangle discussed in previous phonar sessions, THE PHOTOGRAPHER – THE SUBJECT- THE VIEWER. Truth and power are factors in the power are factor in the process of photography toady, however sometimes the participants safety can directly effect this, like with Mansour, Khamissy feels it is important to enstill a sense of safety and trust between photographer and participant, so that who is being photographed know they are going to be represented in the way they want. In countries where freedom of speech is a prosecutable offence this is highly important that they have the final say on what can be shown.
From this talk and the previous form Wasmour Mansour it has become clear to me that as a photographer I should always consider the participants rather than my needs as a photographer.