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The caption should be more analytic if possible. It could highlight how coastal areas are different to other toxic places (drawing attention to this specific site), and highlight the assemblage of actors that are brought into focus (and affected) by the specific event. What do coastal areas tell us about toxicity that other areas don't? Who is affected most in coastal areas? And how does this tie into the coastal economy (and austerity as the caption mentions)? A few more details like this would help the caption to add more depth to what is a good image.

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?

Nothing to add to the image here.

The image highlights how toxics must be dealth with by people, and that often people must go on living with them and dealing with their agency and consequences without training or risk (the comment suggests that the workers in the image were not well equipped).Moreover, the presence of land and sea in the image highlights the mobility of toxic materials that pass between earth systems, which perhaps could be commented on in the caption.

According to the authors of this piece and the members of the Karrabing Collective of indigenous people in north Australia, a key aim of their films is to push back against forms of documentary cultural representation and other bureaucratized forms of knowledge production about indigenous lives. They argue that the "delusional promise of visual media" cannot capture the sheer magnitude of their lived experiences of settler colonialism as an ongoing, constant condition of life. Their films aim to show the "multi-leveled" worlds within which indigenous families live in.

For Grimsahw, various “ways of seeing” have structured anthropological thought and practice. She argues that vision operates differently in anthropology depending on conversations of technique or knowledge production. Ultimately, Grimsahw asks what’s the relationship of vision to ethnographic methods/techniques and epistemological inquires? In the early European projects of ethnography, seeing was the central mode of the practice. Grimshaw states there was an ocularcentric bias. Ethnographers were encouraged to go “see” for themselves (7).

Grimshaw takes us through many rises and falls of the visual from a standpoint of anthropology, here I highlight two chapters: In the chapter “Cinema and anthropology in the postwar world,” Grimshaw explores cinema’s various responses to a changing world. A world situated between two hegemonic forces (think Cold War), but also a world where “popular democratic movements” (71) were taking shape across much of Africa, Asia and Latin America. The focus on the individual, then, in its various forms became the centerpiece of modern cinema.

Klein (p.662) quoting Trouillot:"Michel-Rolph Trouillot (1997, 26) describes how such silences enter the archive at four crucial moments: 'The moment of fact creation (the making of sources ); the moment of fact assembly (the making of archives ); the moment of fact retrieval (the making of narratives ); and the moment of retrospective significance (the making of history ) in the final instance.'"

This text suggests we look at absence and silences of the archive, suggesting that we approach these stories through Trouillot'squestions of how silences enter the archive at four critical moments: "The moment of fact creation (the making of sources); the moment of fact assembly (the making of archives); the moment of fact retreival (the making of narratives); and the moment of retrospective significance (the making of history in the final instance" (662). 

In characterizing the archive as an ethnographic place, this text asks that we think about not only identifying and recovering silences, but focus on "animating the mysteries of the past." This text asks that we find ways of making these absences visible through visualizations, particularly drawing on digital methods.