iminal legal system and the duplicity of the image: Taryn Simon's acclaimed and beautifully produced first book, available in an expanded edition with previously unpublished images, essays and archival material

Taryn Simon's earliest body of work, The Innocents (2003), documents stories of individuals who were incarcerated for violent crimes they did not commit. The project stands as a photographic record of some of the earliest DNA-based exonerations in the United States and as a searing indictment of America's criminal legal system.
The Innocents interrogates photography's credibility as an arbiter of justice. People suspected of committing crimes are identified through photographs and lineups, a procedure that relies on the assumption of precise visual memory. But through exposure to composite sketches, mug shots, Polaroids and lineups, eyewitness memory can change. In the cases in this book, photography aided in convicting and imprisoning people for crimes they did not commit. The Innocents compiles Simon's photographs of 46 individuals at sites that had particular significance to their convictions: the scene of the crime, misidentification, arrest or alibi.
This expanded edition includes previously unpublished images; a new introduction by Innocence Project cofounders Peter J. Neufeld and Barry C. Scheck; a new essay by professor and curator Nicole R. Fleetwood based on a conversation with criminal legal and social justice activist Tyra Patterson; as well as police reports, court transcripts and correspondence detailing the procedures behind many of the misidentifications and wrongful convictions in this book.