The Daily Robot
On February 10, 2026, Electrek.co published a story, written by "Scooter Doll," about the Rivian R2 prototype electric vehicle. To be honest, I'm perfectly satisfied with my Toyota gas burner, and this wasn't exactly headline news—I simply noticed it among the day's many stories. What caught my attention was the striking black-and-white photograph capturing "the moment the first validation build of the Rivian R2 electric SUV rolled off the production line at the company's factory in Normal, Illinois."
The description came from Google Lens. Photo credit is attributed to Rivian/X. A Google Lens image search reveals the original X post along with several reprints by different publications. While other images of the Rivian R2 vehicle exist, this particular photograph appears unique in its black-and-white presentation—at least based on a preliminary search. In this age of high-resolution photography and extensive photo manipulation technology, I find myself questioning the implications of converting an excellent full-color image into strict black-and-white grayscale.
Granted, black-and-white photography was essential to the historical development and evolution of photojournalism. Presumably, then, the editor specified black-and-white reproduction to lend the event a more newsworthy gravitas. Since the new vehicle remains in testing stages—not yet available for consumer purchase—the deployment of this stark photojournalistic aesthetic was likely intended to situate the event within our collective cultural memory of automotive innovation.
Implicit in the report is the risk that, unless Rivian can make it work in every sense, the production may be as dead as a Cold Case crime scene photo from the 1940s. Black-and-white photojournalism is the film noir of the static image—just as Humphrey Bogart and other actors of that era were to cinema. Therefore, I submit that the story headline should read: "New Car Makes History."
That is, if it were the New York Times and not an upstart public relations stringer for the car industry. I’m not being dour—speaking for myself, I’ve recently been on a media manipulation kick. A glaring example is the repeated demand for ransom, in the form of cryptocurrency, in the case of the allegedly kidnapped Nancy Guthrie. We’ve followed the story for 12 days now, and to my knowledge, it has not yet been reiterated that law enforcement does not negotiate with kidnappers. This omission is a prime example of manipulation.
I admit that I perceive manipulation everywhere. While the verdict may be confirmation bias, it doesn’t interfere with my day-to-day functioning. Speaking for myself, a dash of paranoid-critical thinking is essential for personal survival. If the reported consequences of manipulation are any indication, it would seem best to remain circumspect—always.
Have you ever been manipulated—something you can't talk about? To be frank, the origin of post-traumatic stress syndrome is abuse, specifically, that which crosses the line, that goes "beyond the pale." With the stigma of shame stifling self-expression, victims of oppression cannot cry out in pain -or even speak to another about their suffering.
Against the oppression of silence, black-and-white photojournalism is perhaps the most powerful weapon in the arsenal of propaganda ever deployed against class oppression. While photography itself was not an American invention, American photographers certainly refined the medium for maximum social impact. The Works Progress Administration (WPA), part of President Franklin D. Roosevelt’s New Deal, employed photographers through its Federal Art Project and the Farm Security Administration (FSA) to document American life during the Great Depression. These photographers produced iconic black-and-white images that captured the social and economic struggles of the era.
Let's pay homage to a few masters of the medium:
1. Dorothea Lange
Dorothea Lange is best known for her poignant documentary photography during the Great Depression. Her 1936 photograph Migrant Mother became one of the most iconic images of the era, symbolizing the hardship faced by displaced farm families. Lange worked for the Resettlement Administration and later the FSA, traveling across the U.S. to document rural poverty and migration.
2. Walker Evans
Walker Evans created powerful, stark images that emphasized the dignity of his subjects amidst poverty. His work for the FSA, particularly in Alabama with writer James Agee for the book Let Us Now Praise Famous Men, is considered a cornerstone of American documentary photography. Evans focused on sharecroppers, vernacular architecture, and everyday objects with a precise, unembellished style.
3. Gordon Parks
Gordon Parks was the first African American photographer hired by the FSA. His 1942 photograph Government Charwoman highlighted the lives of Black Americans during segregation. Parks used photography as a tool for social change, later becoming a renowned filmmaker, writer, and composer. His work bridged documentary and artistic expression.
4. Russell Lee
Russell Lee was one of the most prolific photographers for the FSA, known for his detailed documentation of everyday life across diverse communities. He captured everything from coal miners in Pennsylvania to migrant workers in Texas. His empathetic, thorough approach provided a comprehensive visual record of American society in the 1930s and 1940s.
5. Arthur Rothstein
Arthur Rothstein was among the first photographers hired by Roy Stryker for the FSA. He is famous for images like Farmers Going to Town, Cimarron County, Oklahoma and Dust Bowl Cattle, which illustrated the environmental and economic devastation of the Dust Bowl. His work played a key role in shaping public perception and policy.
6. Marion Post Wolcott
Marion Post Wolcott was the only woman on the FSA’s full-time photography staff. Her work documented rural poverty, racial segregation, and labor conditions in the American South. Her photographs are noted for their strong composition and social consciousness, capturing both struggle and resilience.
These names represent only the best of a generation of photojournalists who established the precedent for hard-hitting, socially conscious black-and-white photography. It is therefore ironic to see this powerful technique deployed to promote the latest capital-enhanced product: the Rivian R2 electric vehicle. If my snarky commentary doesn’t start your engine, I’m not trying hard enough. The production line photo shoot is clearly a publicity stunt—evident in the crowd of assembly line workers clapping and taking smartphone photos as the vehicle rolls-off the line.
In the past, the people in the picture would have been the industrial proletariat—working for robot wages—to enable the affluent bourgeoisie to travel in style, now even without carbon emissions. If my tone sounds choleric, it’s because I’m laughing so hard it hurts. Can any stockbroker out there confirm whether Rivian’s stock ticked upward on the news?—bearing in mind the car is not yet available for purchase. And as we’ve all grown tired of hearing, it will likely remain out of reach for the very assembly line workers who built the model and play their part in the photo.