Photography Is Not Neutral: Why Framing Matters

Instagram Facebook Home The Archive About The Framekeeper Project The Archive Journal Contact Page Home The Archive About The Framekeeper Project The Archive Journal Contact Page Photography Is Not Neutral: Why Framing Matters Memory & Erasure April 19, 2025 “A frame does more than contain. It decides what gets seen.” There’s a myth we’ve been taught to believe:That photographs are truth. That the camera simply records what’s in front of it. That a photograph is neutral—unchanged by the hands that made it or the lens that captured it. But here’s the reality:Photography is never neutral.It is a choice. A perspective. A cultural act of inclusion—and exclusion. And the frame?It determines what history remembers. Framing Shapes Memory A photograph doesn’t just show us what was—it shapes how we remember it. What gets included in the frame is just as important as what’s left out: Who is centered? Who is cropped? What moment is captured—and which one is ignored? Who is documented in public archives, and who was never photographed at all? Every photograph is an act of selection, and therefore, of power. This is not new. Governments have used photographs for propaganda. Colonial empires used them to document “the other.” Media outlets choose which images to broadcast, reinforcing stereotypes or silencing empathy. And today, with so many archives digitized, we’re left with another pressing question: Who decides what stays visible—and what quietly disappears? History Is Not Just What Happened—It’s What Was Framed Public memory is built from images:Civil rights marches, protest signs, military portraits, newspaper front pages, viral videos. But there are gaps.People who were never photographed. Stories that were never told. Records destroyed or removed because they were inconvenient. And even among what remains, some images are quietly buried in underfunded archives or stripped from public databases due to political pressure. This is why framing matters.Because history is not just preserved—it’s curated.And if we don’t question the frame, we accept someone else’s version of truth. The Power—and Responsibility—of the Curator At The Framekeeper Project, we don’t treat images as static objects.We see them as living records of perspective, agency, and erasure. We ask: Why was this image taken? Who took it? Who was it for? Who wasn’t included—and why? And what do we do with that knowledge now? We preserve public domain photographs not just because they’re free—but because they’re vulnerable. Because they tell stories that were nearly lost. Because they require care, context, and compassionate stewardship. Curation is not decoration.It is a cultural act.  The Frame Is Political It’s easy to believe that if an image exists, it speaks for itself.But the camera, like the archive, is never without agenda. In the 1800s, Native American leaders were photographed in Western clothing to suggest assimilation. During the Civil Rights era, peaceful protestors were often cropped out of frame—leaving only burning buildings. Public health photos have been used to shame or scapegoat marginalized groups. In recent years, images have been quietly removed from government sites that once honored Black soldiers, Indigenous code talkers, or reproductive justice advocates. Framing is how power gets visualized.And un-framing—or reframing—is how truth is reclaimed. Framekeeper’s Philosophy: Remember on Purpose The Framekeeper Project exists because some truths were nearly erased—not by accident, but by design. We preserve public domain materials from sources like the Library of Congress and National Archives. But we do more than download and store. We re-contextualize, organize, and frame with intention. We do not exploit.We do not strip memory of its meaning.We do not remove the story from the photograph. We keep the image—and the weight of what it represents—together. Because photography has the power to dehumanize. But it also has the power to restore humanity. Reframing Our Role as Viewers We are not just consumers of history.We are participants in how it is remembered. So ask yourself: When I share this photo, what story am I telling? When I post an archive image, am I honoring its context? When I use an image for education, am I centering the truth—or just the aesthetic? It’s not about perfection.It’s about presence. To framekeep is to look deeply, to question the silence, and to choose care over convenience. Final Thoughts: The Frame Remembers The camera records light—but the frame records meaning. At The Framekeeper Project, we don’t just preserve the image. We preserve the decision to remember. The dignity of those captured. The truth they stood in. Because every frame is a doorway.And every keeper is a witness. Photography is not neutral.But when framed with integrity, it becomes a tool of truth. Hot News Photography Is Not Neutral: Why Framing Matters Can I Use That Image? A Guide to Public Domain Ethics Why The Framekeeper Project Exists: A Call to Remember

Can I Use That Image? A Guide to Public Domain Ethics

Instagram Facebook Home The Archive About The Framekeeper Project The Archive Journal Contact Page Home The Archive About The Framekeeper Project The Archive Journal Contact Page Can I Use That Image? A Guide to Public Domain Ethics Uncategorized April 19, 2025 “Just because an image is free to use doesn’t mean it should be used carelessly.” In a time when the internet feels saturated with visuals, it’s easy to forget that behind every historical photo is a human story—and often, a cultural cost. At The Framekeeper Project, we’re frequently asked:“Can I use this image I found on the Library of Congress site?”The short answer is: often, yes. But the real question is deeper: Should you?And how do you do so ethically? Let’s talk about what public domain actually means, and why stewardship—not just access—is at the heart of ethical use. What Is the Public Domain? The public domain refers to creative works—like photos, writings, or films—that are not protected by copyright and are therefore free for anyone to use. Many public domain images are: Created by the U.S. federal government (e.g., LOC, NARA, NASA) Published before 1928 (as of 2025) Explicitly released to the public by the creator or estate This means you’re legally allowed to reuse, repost, remix, or even sell public domain content—without asking for permission. But legality doesn’t always equal integrity. Why LOC and NARA Images Are “Safe” (But Still Require Care) The Library of Congress and National Archives and Records Administration (NARA) are two of the most respected sources of public domain images in the United States. These collections often include: Historical photographs taken by federal employees Civil rights, military, and government documentation Indigenous records and cultural images In most cases, their Rights Advisory section will say “No known restrictions,” which means they are free to use under public domain status. But that doesn’t mean we should treat them like stock photos. The Framekeeper Approach: Stewardship, Not Exploitation At The Framekeeper Project, we curate public domain materials not because they’re “free”—but because they’re at risk of being forgotten, censored, or erased. Our philosophy is simple: We do not own these images. We protect them. We contextualize them. We do not profit from their pain. Every image we preserve is sourced responsibly, documented clearly, and offered freely for public education and remembrance—not for commercial repackaging or aesthetic detachment. Attribution Still Matters Even though public domain images don’t require legal attribution, we believe in naming the source out of respect. Where possible, we include: The original archive or collection (e.g., Library of Congress) Photographer name (if known) Original description or context Any known date or geographic info Because names matter. Places matter. And credit reinforces accountability. A Note on Sensitive Use Many public domain images depict: Enslavement Indigenous displacement Wartime atrocities Civil unrest Medical or institutional abuse These are not just “aesthetic” or “vintage” images—they carry emotional weight, generational trauma, and cultural importance.Ethical use means handling these images with care, sensitivity, and context. When in doubt: Ask yourself who benefits from this use Avoid using traumatic imagery for decoration Provide clear historical framing Consider whether descendants might find the image exploitative Quick Tips for Ethical Use of Public Domain Images ✔️ Verify the source. Stick to trusted collections like LOC, NARA, or Smithsonian Open Access.✔️ Provide context. Don’t post without some explanation of who, what, when, and why.✔️ Avoid sensationalism. Don’t use historic suffering as clickbait or shock value.✔️ Respect cultural imagery. Especially when it comes to Indigenous or sacred documentation.✔️ Attribute when you can. Even if not required, it’s respectful and transparent. 📷 The Internet Is Not An Archive—You Are Websites change. Archives get restructured. Links break.The only way to truly preserve public domain history is through responsible curation and decentralization. That’s why we do what we do. And if you want to see what ethical preservation looks like in practice, we invite you to explore the archive. Explore the Archive →  Because how we preserve history matters just as much as what we preserve. Final Word Public domain is a gift—but it’s also a responsibility.When you use a historical image, you’re not just sharing pixels—you’re continuing a legacy. So yes, you can use that image.But more importantly—will you honor it? Because photography is resistance. Memory is truth.And we are its keepers. Disclaimer:The information shared in this post reflects our research and ethical standards as a preservation-focused archive. While we do our best to honor public domain guidelines and respectful use, this post is not intended as legal advice. We are not lawyers—just memory keepers doing the work with care. If you have questions about legal usage or image rights, we encourage you to consult with a qualified intellectual property attorney. Hot News Can I Use That Image? A Guide to Public Domain Ethics Why The Framekeeper Project Exists: A Call to Remember

Why The Framekeeper Project Exists: A Call to Remember

Instagram Facebook Home The Archive About The Framekeeper Project The Archive Journal Contact Page Home The Archive About The Framekeeper Project The Archive Journal Contact Page Why The Framekeeper Project Exists: A Call to Remember Uncategorized April 19, 2025 “Some stories fade. Others are taken.” Not all memory disappears through time. Some is erased, quietly—on purpose. Recently, we’ve witnessed a troubling trend: the slow, deliberate deletion of public knowledge. Government web pages disappearing without notice. Civil rights history buried under bureaucratic redesigns. Indigenous records locked behind reclassification or removed entirely from public databases. DEI programs eliminated, and with them, the context that makes cultural memory whole. In early 2025, entire sections of federal archives—once home to stories of Native resistance, Black liberation, LGBTQ+ activism, and environmental justice—were suddenly inaccessible. Some have since been restored. Many have not. But memory doesn’t wait for policy to do the right thing. That’s where The Framekeeper Project begins. A Life in Images, a Legacy in Truth For decades, I’ve lived in images. As a professional photographer, photo researcher, and senior editor at a national publishing house, I’ve spent years documenting stories through stillness—chasing light, restoring lost faces, uncovering narratives hidden in negatives. But my work didn’t start in a studio. It began in the field—with anthropology and archaeology. I studied culture and time. I was taught how to ask: Who lived here? What did they leave behind? What was taken from them? What I learned—then and now—is that history isn’t just found in books. It’s whispered in the grain of old photographs. It’s carried in the margins of government records. It lingers in the silent expressions of those who were never supposed to be remembered. And lately, I’ve watched those echoes vanish. One page at a time. The Moment It All Shifted There wasn’t one single event that birthed this project—but rather a culmination of quiet alarms. I’d go to revisit a Library of Congress page I used for research only to find it removed or rerouted. I’d discover links to Native American boarding school records that suddenly went dead. I’d read reports of DEI-focused military history being stripped, of civil rights exhibits being “restructured” to exclude anything that might offend. The deeper I looked, the more I realized:📉 Public memory was shrinking.🗑️ And it wasn’t by accident. These weren’t just website errors. These were stories being written out of relevance. And so I asked myself: If I have the skills to preserve what’s at risk—how could I not? What The Framekeeper Project Does The Framekeeper Project is a visual archive. A living digital library of public domain photographs, cultural documents, and forgotten narratives that were nearly lost—not by time, but by intention. We do three core things: 1. Preserve What’s Vulnerable We search public domain collections—like the Library of Congress (LOC), National Archives and Records Administration (NARA), and other federal institutions—for materials related to: Indigenous communities and resistance movements The Civil Rights era LGBTQ+ history Women’s rights and reproductive freedom Environmental and anti-war activism Other underrepresented or censored movements We download and store these materials safely, in multiple formats and backups. 2. Organize for Access It’s not enough to “save” something if no one can find it. We create structured, themed galleries that are free to access—with: Clear source documentation Historical context when possible A commitment to ethics, transparency, and accuracy We do not alter or monetize the materials.We are stewards, not owners. 3. Refuse the Erasure Every item we post is an act of quiet resistance. By giving visibility to what others try to obscure, we assert that memory matters. That censorship can be countered. That history does not belong to the powerful—it belongs to the people. Why This Matters Now History is a battleground. It always has been. But in the digital age, that battle is quieter—more administrative, more subtle. A missing page here. A policy shift there. A downed link. A delayed FOIA request. And then suddenly, what once was common knowledge becomes obscured. The average person won’t notice it’s gone—until they need it. But we notice. And so we remember. This archive is not nostalgia. It is protection.This project is not a side mission—it’s a shield.And in a time when culture can be rebranded, rewritten, or deleted, preserving the original record becomes an act of defiance. Who This Is For The Framekeeper Project is for: Historians and educators seeking hard-to-find sources Descendants of those erased from mainstream history Photographers, artists, and storytellers searching for truth Communities whose stories have been told by everyone but themselves Anyone who believes memory should not depend on politics It’s for those who say: This image matters. This truth belongs. This should not disappear. But Isn’t This Work Already Being Done? Yes. And we are grateful for every historian, archivist, librarian, activist, and nonprofit doing this vital work. But here’s the reality:Many public institutions are bound by federal policy.They are underfunded, overworked, and politically vulnerable.Their archives can be stripped or silenced. We’re not here to replace them—we’re here to support the gaps, to duplicate what’s public before it’s made private, and to hold what others cannot. This is the redundancy that protects the truth. What Makes This Archive Different We focus on at-risk records, not just historic beauty We offer clean, organized access, not buried catalogs We maintain multiple backups (offline, online, and decentralized when possible) We invite public contribution, especially from marginalized voices We frame every photo in the belief that memory is sacred The Philosophy Behind the Project Some archives preserve the past for admiration. We preserve it for resistance. We believe: Photography is not neutral Memory is not passive Stories are not safe by default To remember is to reclaim.To document is to protect.To archive is to refuse silence. What You Can Do You don’t need to be a historian to preserve history. You can: Submit stories, collections, or photo leads Explore and share the archive Volunteer time for research or tagging Help fund future preservation efforts Simply remember—deliberately The