This essay explores the nature and political consequences of representing HIV/AIDS in Africa, where the disease has taken its greatest toll. We examine how different methods of photography embody different ideologies through which we give meaning to political phenomena. We distinguish three photographic methods of representing HIV/AIDS: naturalist, humanist, and pluralist. Naturalist approaches portray photographs as neutral and value free. Humanist photography, by contrast, hinges on the assumption that images of suffering can invoke compassion in viewers, and that this compassion can become a catalyst for positive change. By examining a widely circulated iconic photograph of a Ugandan woman and her child affected by AIDS‐related illnesses, we show that such representations can nevertheless feed into stereotypical portrayals of African people as nameless and passive victims, removed from the everyday realities of the western world. We contrast these practices with pluralist photography. To do so we examine a project in Addis Ababa, which used a methodology that placed cameras into the hands of children affected by HIV/AIDS, giving them the opportunity to actively represent what it means to live with the disease. The result is a form of dialog that opens up spaces for individuals and communities to work more effectively in overcoming problematic stigmas and finding ways of stemming the spread of the disease.

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This chapter explores the nature and political consequences of using photographs to represent HIV/AIDS in Africa. It first considers Western media constructions of stereotypes before turning to three photographic methods of representing HIV/AIDS—naturalist, humanist, and pluralist—and the ways they embody different ideologies through which we give meaning to political phenomena. It then examines an iconographic photograph portraying HIV/AIDS in Uganda during the mid-1980s and a series of photographs taken more recently by Ethiopian children affected by AIDS. It explains how attempts to present “natural” images of HIV/AIDS cultures end up cohering more to colonialist, exotic imaginings of Africa. The chapter suggests that photographic representations either contribute to or break with stereotypical portrayals of HIV/AIDS and highlights the potential of pluralist photography as an active catalyst for local empowerment and as a medium for challenging some of the deeply entrenched and extremely problematic taboos and stigmas that are associated with HIV/AIDS.