Discussion Questions:

1. Why do you think Indian and African photography has evolved into something that portrays the subject as they want to be seen (better than they are), rather than for what they are in reality?

2. In terms of documentary, how has European photographic tradition maintained depth, possession, and exploitation, consequently affirming chronotypes (i.e. time and space)?

3. How adequate is the metaphor for surface used in the article?

4. What is significant about the Yoruba gaze? How does the reciprocation of the gaze disembody and de-narrate?

5. Can we recognize a similar desire for images to represent a ‘better self’ than reality in Western photography?