By Kelsey McKinney
Writer and filmmaker Errol Morris, winner of an Academy Award for Best Documentary Feature, an Emmy, and the Grand Jury Prize at the Sundance Festival, drew on the Ransom Center’s photography collections for his most recent book, Believing is Seeing: Observations on the Mysteries of Photography, published by Penguin in September 2011.
Morris’s interest in the mysteries of photography grew around the debate over two nearly identical Roger Fenton photographs in the Ransom Center’s collections. The photographs were taken in sequence in a place called the “Valley of the Shadow of Death” during the Crimean War.
In one photo, the road through the valley is bare and the ditches full of cannonballs. In the other, the road is scattered with cannonballs. The photographs were taken on April 23, 1855, between 3 and 5 p.m., but photography scholars debate which photograph was taken first. The discrepancy between the images inevitably leads to a question of Fenton’s involvement. In which photograph did Fenton manipulate the scene?
Morris’s interest led him to Crimea to investigate. He borrowed a cannonball, found the valley, and came to a conclusion that caused him to question whether we can, 150 years later, recover the truth of Fenton’s intentions. Morris wrote extensively about this adventure for The New York Times.
Through the “Valley of the Shadow of Death” photographs and a few others, Morris reveals how much of a photograph can be obscured by the viewer’s beliefs. A photographic detective story, Believing is Seeing is an exploration of the origins, intentions, and products of photographers.