The White’s Seahorse is not affected by flash photography in terms of its behaviour, movement or persistence at a site.
It is clear that underwater photography can be used safely in studies of seahorses. Scientists are examining whether this could replace tagging in long-term eco studies.
As a precautionary measure, flash photography of seahorses in 2011 was banned by the UK to protect their advanced eye structure.
University of Technology Sydney – Read More
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The South African colonial regime in Namibia had been firmly established at the time, and racial segregation was the dominant political ideology. On the eve of World War II, the region was thrown into a period of political turmoil. Ethnic nationalism, partisanship, and other factors threatened to divide the settler community. The situation was made worse by the explicit support for fascism and colonial revisionism among German-speaking settlers.
Scherz’s photography must be understood in this context and as an attempt at imagining what was at the core of white consciousness at that time. Her photographs of German farm workers and itinerant Afrikaners, I believe, documented the harshness white rural life to a degree that elicited an empathetic reaction from the viewer. Her depictions of black farm workers, on the other hand, hid their precarity and poverty.
Scherz believes that farm workers are not poor due to colonial economic exploitation. She believed that deprivation, scarcity and poverty were all part of “native life”.
Her images encourage us to work with white women photographers in order to refine our understanding of the way they viewed disenfranchised Indigenous people.
