I don't need somebody else telling me how my [gender/race/nationality, etc; whatever category that the PC police self-appont themselves to supervise] "ought" to be portrayed in photographs. I'd like to see all kinds of portrayals, by all kinds of people, from all kinds of viewpoints/perspectives and make up my own mind about what those pictures tell me both about what's in them and the person who made them. Not only am I, and I think most people, fully able, as free adults, not to need nannying and hand-slapping from outsiders, the constant SCREEEEEEEEEEEEEEEECH!!! of outrage about every little possibly, maybe, might-be perceived incorrect imagery; I think this kind of self-censoring is hugely damaging to how one is able to see pictures. It's intrusive, and, I think nearly ruinous to the possibility of expanding beyond the iconic or the propagandist, "acceptable" stance that is considered okay by the PC police. Setting aside PC policing of pictures or women, (gosh, Lisette, what were you thinking??), consider how hard it is for African-Americans to build a cultural portrayal that gets beyond stereotyping: "Iconic blackness as larger-than-life image (Rosa Parks, Jesse Owens, Martin Luther King Jr. to name just a few) and spectacular blackness -- from criminal deviance to excessive bodily enactments -- are the dominant visual modes for representing black subjects and black lived experience, in particular throughout the twentieth century." — Nicole R. Fleetwood Why does Stanley Crouch, when describing photos by Teenie Harris, feel the need to write as follows: "We can see as the little white boy stands with the other kids and listens to the black man play the small piano somewhere out on a Pittsburgh street that he is not assuming that he is among exotics or savages or coons." "The white kids who are present at a black baptism aren't acting as though they are lost in some kind of urban jungle and might be only a few minutes from a cook pot once the natives notice their presence." "The handsome black lifeguard and swimming instructor standing in the pool and showing kids, black and white, how to keep afloat and get from one place to the other exhibits neither subservience nor condescension, just pure professionalism burnished with grace." "Those white guys with the black girlfriends and the dignified but melancholy white woman sitting next to her black guy don't seem to feel as though Tarzan and the apes form a good metaphor for their experience." Why use words like "coon" and "natives" and "Tarzan"? Because, I think he knows they'll shock white people like me out of my politically correct, paternalistic smarminess when looking at Harris's "nice" portrayals of his home town. The trouble is, that in doing so, in needing to do so, he's blotted out my ability not to see the pictures in those terms. Now I've got coon and native and Tarzan on my mind and I've lost the ease of just pondering the pictures, letting the pictures do their own work. As Crouch notes later, "Unless something of imperishable value from the dead world of the past is held onto, the undeclared audience that we all are could get that dead world dead wrong." I totally agree; and I think the iconic/propagandic, and the politically correct -- which certainly have their purpose and power within the political arena -- stand between, thwart and even prevent a full, rich and deep portrayal in all its glorious and inglorious un-PC human imperfection. As Richard Wright wrote, "our history is far stranger than you suspect, and we are not what we seem."