A True Story About Bogus Photos of People Making Fake News


Fittingly, Miskin’s account got here with the hard-to-verify promise that her profile photograph was generated by AI. Bendiksen spent weeks curating her account to resemble an enthusiastic freelance photographer from North Macedonia. He despatched pal requests to a whole lot of individuals within the photograph enterprise; many reciprocated, together with museum curators and journal photographers.

When Bendiksen obtained to Perpignan, his duplicity weighed on him. “I was sick to my stomach but I felt I had to document that the screening actually took place,” he says. He averted the whirl of networking, eating alone and hiding out in his lodge room to keep away from assembly anybody he knew. The night time of his screening, he arrived early and took a seat excessive within the bleachers, attempting to cover behind his face masks. When the Veles video rolled, a sequence of his bear photos quickly swam into view. “My heart jumped a beat,” Bendiksen says. “I thought the bears were the weakest link.”

Bendiksen launched his assault on himself the following day, again dwelling in Norway, aiming for the reality to emerge earlier than the competition’s primary program ended a couple of days later. He logged into Miskin’s Facebook account and wrote a publish accusing himself of paying topics to pose fraudulently, declaring “His project is the real fake news!!”

To Bendiksen’s alarm, the post didn’t gain much traction. He re-posted the allegations in a private photography Facebook group, sparking a discussion in which participants largely accepted Miskin’s claims, but found little wrong with paying subjects in photos. His planned self-immolation in tatters, Bendiksen spent days frantically building a Twitter presence for Miskin, ultimately attracting the eagle eye of Chesterton, the UK filmmaker who at last called out the project. “It was a big weight off my shoulders,” Bendiksen says.

He called Magnum’s CEO, Caitlin Hughes, who like almost everybody else with the agency had been kept in the dark. She was standing on a drizzly London street on a night out with her husband when she learned that the company had published a book, and sold prints, that were faked. “I did know he was working on something secretive but I wasn’t expecting this,” she says, “It really shakes the firmament of documentary photography.” The next day, Magnum posted the interview in which Bendiksen came clean, alerting the wider world of photography.

Jean-François Leroy, longtime director of Visa Pour L’Image, learned his prestigious festival had been punked when Bendiksen emailed a link to the interview. The revelation left a sour taste. “We knew Jonas for years and trusted him,” says Leroy, who says he was “trapped.” The festival sometimes asks photographers to see raw, unedited images, but did not ask Bendiksen, whose work had been featured in the past. “I think Jonas should have told me it was a fake,” Leroy says, allowing the festival to make a feature out of disclosing and discussing the stunt and its implications.

Others taken in by Bendiksen’s project have warmer feelings. Julian Montague, an artist and graphic designer in Buffalo, New York, saw Bendiksen post a link to the Magnum interview on Facebook and read with interest. He’d bought the book earlier in the year, out of interest in the concept of a fake news industry, and the aesthetics of the former eastern bloc. Bendiksen’s images, grainy and with moody lighting, had struck him as artful, not artifice. Now they felt different—in a way that enhanced his experience rather than leaving him feeling cheated. “It’s interesting to revisit the photographs with that knowledge,” he says. “I admire it as an experiment and piece of art and agree with him that it portends a scary future.”

Chesterton, who triggered Bendiksen’s reveal, calls the challenge “magnificent” however for various causes. He sees its major worth not as an indicator of the rising energy of artificial imagery, however as a highlight on the foibles of the pictures trade.



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