Photojournalist, Justin Cook, has been exploring homicide, incarceration and urban renewal in Durham, North Carolina for over a decade.
Artistic Rebuttal Project: Do you consider yourself an artist?
Justin Cook: I guess so, haha. Labels are interesting to me, and I’ve been thinking about this a lot lately...Some have even called me an activist since my work has a point of view. My background is journalism, but I’m a storyteller that uses multiple mediums to tell those stories. If the journalism world, the documentary world and activist world all want to claim me, that’s great. I love that my work speaks and appeals to so many. I’m a visual storyteller at heart, so I guess that does make me an artist.
ARP: What are some industry and/or self-assigned protocols you employ to stay objective?
JC: I’m making art that has a very specific set of ethics around it, but I don’t believe in objectivity as the ultimate measure of good storytelling. It’s one tool in a vast toolkit to tell stories. Trying to tell all sides of a story to create one perfect package is exhausting and actually impossible. Some stories don’t have more than one side. Better measures of a story are: “is it fair? is it honest? How does everything connect to a greater understanding?”
ARP: Are there instances where you give yourself license to get subjective with the people you photograph?
JC: Yeah, of course. Deeper relationships happen naturally and over time. Finding trust, maintaining transparency and building that real relationship are the first priorities, then the work grows from that. I will always cherish my relationship with Joslin, who I’ve been photographing for a decade after her son was murdered. The mutual support we give to each other is better than any Pulitzer.
ARP: As an artist, are there any key “do’s and don’ts” of which photographs you’ll present to the public and the ones you don’t, in terms of highlighting your subjects as opposed to exploiting them?
JC: I think I have to walk that fine line between photos that show the of the stories I tell and the ones that only provide a voyeuristic view - images of violence for shock value, for example. There’s a small sign I have on my bedroom wall that I look at every day that guides my work. There are few points that seem relevant to this question:
“Give thought to whether your pictures advance understanding or confirm stereotypes.”
“Allow for the privacy of others.”
“Fight for issues in the context of the benefit of the community, the newspaper, and your subjects.”
“Caution the vulnerable on what their participation in a photo might mean.”
“Check biases or preconceptions when listening to someone or covering a situation that has multiple lines of interpretation available.”
“Follow up with your subjects.”
ARP: What other kinds of professional ethics come up in your line of work in terms of the humans in your photos?
JC: Not affecting the story is a big one -- not affecting the scene. I aim to photograph the setting and lives of people as if I’m not there, to get the truest image possible. But not getting involved at all is sometimes dangerous, and most of the time, impossible.
For instance, in college I photographed a waitress for a story about alcoholism. I needed to photograph her on the hour-long bus ride to her job. On the first visit, I arrived in my car to her home and she asked me for a ride to work. I obviously couldn’t do that since the bus commute was a key part of her story. But once I got enough photos of that, I’d drive her to work the following visits, just to make her days easier. It had no effect on the story. When I feel like I can, I try to give back to those who have opened up and allowed me to be a part of their days.
ARP: On the reverse, what are some regular practices you use to make sure you and your work aren’t stolen, misattributed or exploited?
JC: I make it a point of educating colleagues, co-workers and collaborators on how to attribute the creator of images. But it happens on such a crazy scale - you have grandmas that use my photos of their grandkids and may not have any knowledge on intellectual property up to the Dean of the school I graduated from using my photos without my permission.
ARP: Last question, can you give some advice to emerging arts leaders and artists to ensure their work or the work they represent aren’t exploited?
Copyright your work within 3 months of it being published or it becomes public in any way. I hear infringers say “well you should have watermarked your image - it was on the internet.” That is victim shameing. The burden is NOT on the artist to watermark their images for online use; the burden IS on people to not steal work they know they didn’t create. But watermark work if you can, and if it doesn't distract from the image. If someone crops out a watermark - THAT is intentional copyright infringement.
Push for better copyright law at a national level.
Reverse google search your images on a regular basis
Look into companies who will help find copyright infringements.
Build alliances in the legal sphere.
Maintain UTMOST professionalism AT. ALL. TIMES. You could turn an infringer into a client.
ARP: Any last comments?
JC: I’m a white guy who tells stories in black neighborhoods. Knowing my own privilege and limitations inside those communities and constantly checking myself was critical. I try to be transparent in everything I do. Often, I show my photos to the people I’m working with in them all along the way which builds trust. Ultimately, I don’t believe in the tired mantra of “giving a voice to the voiceless.” The folks I’ve worked with have a voice, but they are often simply ignored, silenced or have no platform. Building platforms with folks to tell their own stories and collaborating with them is the future.