Power Line returns AP's ludicrous accusations with a fast ball:
Now, it's possible that Jack Stokes, the AP's director of media relations, was incorrect. But for the AP to express outrage that we thought there was collusion between the photographer and the terrorists, without even acknowledging that we based that conclusion on the AP's own statements to that effect, is ridiculous.
Followed by a curve from an ex-NYeT photographer who had covered the civil rights movement:
I pointed out [to the person who showed him the uncropped photo] that the photo depicts a lynching . Lynchings are always local and specific. Their purpose is "educational" in that the lynchers want as wide a distribution of the event as possible. In other words, lynchings fail if they do not have the implicit or explicit support of the media.
Who then proceeds to analyze the "prize winning" AP photo:
THE DISTANCE FROM CAMERA TO SUBJECT:
We do not have the original photo to make a judgment about. It is difficult to tell if the image has been enlarged, or if it has degraded through numerous duplications. However, assuming that this is the original dimension of the finished photo, I would estimate that the lens is the rough equivalent of a 180mm lens on a 35mm format. I would estimate the distance between 15 and 25 meters. The distance would be the same if the lens were "normal" but an enlargement of the print had occurred. This may be a "blow up," in other words.
A PHOTOGRAPHER'S "FEEL":
Leaving aside the ethical specifics of this situation, if I knew that an event was about to occur that included possible violence, I would do exactly what it appears the photographer did in making this picture:
(1) I would choose an elevated mobile platform where I had an unobstructed view of the scene, and where I had maneuverability to observe as well as rapid exit...such as a pick up truck
(2) I would be at enough distance to be somewhat protected and inconspicuous
(3) I would choose a medium telephoto lens that could be hand held in a moving vehicle, yet give me large enough images to be clearly recognizable.
So, the assassination picture has all the earmarks of a planned image, indicating that the photographer had taken most of the considerations that I have written about above.
It's also possible that a passing Iraqi, riding in the back of a pick-up truck, carrying a Nikon with a 180mm lens happened onto the scene, made a few snaps and dropped them off at the AP office in the Green Zone of Baghdad.
The latter is possible of course. But interesting that in the primary hypothesis case -- that the "AP photographer" was a terrorist sympathizer -- or the latter
very unlikely case the AP's continuing anonymity cover for the photographer smells of corruption at minimum.
Or of
being on the other side in all liklihood...
UPDATE: Wretchard says to bring on the
investigation into perfidy -- and
tips his hat to Power Line.
Posts
