The image is a found one, coming from materials from the City of Austin. It's composition is notable in a few different ways, particularly in regards to its "universality." (I have come across similar presentations from the City of Houston and they look exactly the same! Do they all use the same PPT generator?)
What jumps out most is the usage of yellow skin tone, similar to emojis. How does this "neutral" nonhuman color signify an erasure of certain experiences by trying to purport that we're all the same?
The author created this image to visually represent the racial geography of environmental risk in Austin. The aesthetic is rather plain but should compliment the other pictures in the photo essay.
The author took this image, I assume. It is notable that it is taken from above the person working in the toxic river. This highlights a power dynamic of those who are able to stand above and observe (be unaffected in the same way) by the pollution (at least in terms of proximity in their working conditions). The shadow of the author is also an interesting but perhaps unrelated comment on the presence of the researcher in their work. I wonder if this could be tied into the caption perhaps?
This is a found image and the source is listed. The orange colours of the high vis jackets are juxtaposed to the surrounding landscape, and those wearing them act as living markers of the danger of toxicity in the area despite being exposed to it themselves. Perhaps this could be commented on?
This is a found image taken by a professional photographer. It is aesthetically appealing. The photo appears to have been taken at dusk, which makes the colors and shadows interesting to look at. The children playing gives the photo a sense of levity, but this is quickly offset by the sight of the pollution. This dissonance between the toxic foam at the bottom of the image and the beuaty of the beach at sunset along with the lightheartedness of children at play makes the image interesting and compelling.
This is a picture taken by the author. As I have already mentioned, I like the light and the composition of this picture (more than the first one). It is captivating but also very telling —there are two stories in it —front ground and background —fishermen and power plant.
This image was created by the ethnographer. It is a photo of fern scrolls in the hands of a local farmer. What I find interesting about this photo is it doesn't strike you as toxic at all. The scale of focus is pretty tight. All we can see are a person's midriff and the delicate scrolls they are holding gently in their rough and textured hands. There is almost nothing to give away the location of the photo or its recent history of disaster. I think this plays into the authors point that there is no way to tell whether or not these scrolls are "toxic" by the look of them.
I believe this image was produced by the author. What I like about it is the light in the middle —which, despite of making the picture a bit too dark, also produces a provocative composition, it invites the audience to pay attention, it draws the eye towards the light.
It’s an analytic map that shows the distribution of people by income. It is a great and easy way to show with clarity the differences in a city and how communities are put together. It can be used for different means, especially for city projects and planning. I believe this single tool can be used as an excuse for all kinds of interventions: positive and negative.
The image is created by the ethnographer through juxtaposing two different images. The striking aspect of this visualization is that the unity sculpture seems like it is under construction, which lends itself to the argument that the unity itself is a construction.