Imaging process as ethnographic inquiry

This paper considers the predicament of ethnographic photography in the current period of paradigm transition. The dominant mode of ethnographic imaging has remained severely constrained by the genre conventions of documentary, and so the practice was relegated to the poetic margins of social science discourse. But, as this paper argues, the paradox of visual representation is not inherent in the medium, rather it stems from the imaging process as formalist aesthetic. An alternative formulation involves foregrounding the process itself as a system of communication, thereby severing the photograph's ontological commitment to reality.