Abstract
Jacob Badcock’s article examines some shared problems in photography and pollution science by analysing two photographic series on Agbogbloshie, an electrical and electronic waste processing site in Ghana: The Hell of Copper (2008) by Nyaba Leon Ouedraogo and Permanent Error (2010) by Pieter Hugo. The article outlines how contemporary lens-based art concerned with representing environmental issues and scientific research attempting to measure pollution can be, despite benevolent intentions, guilty of reproducing colonial power relations.
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