Documentary Photography As A Tool For Social Change

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This essay is going to explore documentary photography through the years and the ways in which it was used while also looking at the impact documentary photography has had on society. Photography has been a tool for worldly impacting people’s opinions on a great scale, capturing moments that trigger sympathy in a person with serious issues that others fall victim to, and that they may also be relatable to some to a point. Photography and other visual mediums, compared to other medias, has been incredibly beneficial in changing the world and individuals themselves in that the content of some photographs have sometimes shocked people into reacting and feeling a certain way- war photographs have been noticeably powerful. It allows people to enter an era in which they may have never experienced before, seeing what it feels like to be in the moment. Photography is a form of communication and expression as the audience if given a glimpse into a world other than their own, often focusing on people, places, things, events, landscapes, colours, perspectives, shapes and angles.

Documentary Photography

Documentary photography references photography that is used to journal certain events or environments that can be have an implication to history and historical events as well as general life (En.wikipedia.org, n.d.). Documentary photography can be carried out academically, artistically and as a nonprofessional, or in a more professional way through photojournalism. To ‘document’ means to “record something in written, photographic, or other form” (Waite, 2012) , so documentary photography literally records things in order to capture details and information about a place, thing or circumstance that may otherwise be not easily accessible, for example.

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Documentary photography, often used in reportage, is a genre that exhibits an authentic display of people, objects, events and places (Tate, n.d.). It was a crucial way of experiencing world events, from Dorothea Lange’s portraits of poor farmers, to Robert Capa’s shoot-from-the-hip photographs of the Spanish Civil War. Early daguerrotypes and calotyps depict a variety of locations, from American Wilderness areas, to Egypt’s Near East ruins (En.wikipedia.org, n.d.). In the 1850s, American archaeologist John Beasly Greene, who worked during the nineteenth century, travelled to Nubia to photograph the major ruins of the region (Stapp, 2007).

The first documentary photographer is believed to have been Philip Delamott (b. 1821, d. 1889) from Britain- he was one of the first photographers to actually use photography to record crucial events after calotype photography was invented, such as the disassembly of Crystal Palace.

In her colossal 1977 collection of essays dedicated to photography as a medium, Susan Sontag writes: ‘Photographed images do not seem to be statements about the world so much as pieces of it’ (Sontag, 1979). This form of image making records and chronicles events and environments to send a message whilst portraying a narrative (Kordic, 2016). Documentary photographs draw attention to true-to-life socio-political situations and experiences within a certain moment. Unlike photojournalism which focuses on breaking news, documentary photography concentrates on ongoing issues such as human rights and environmental change.

Reportage

Growing from photojournalism, the photographic genre of reportage, which can also be referred to as documentary photography, captures moments or events in a narrative form. These images tell a story and are generally less formal with their images being natural without staging, unlike some traditional styles of photography (Struck, n.d.). Rather than a staged photoshoot, reportage can be used to capture events in a documentary-like fashion such as parties, celebrations, fundraisers and even weddings, as it focuses on key aspects of the day instead of the typical things that are often seen in event photography, such as people posing for an image instead of the photographer taking photographs without interrupting the subjects. Reportage is suitable for events and places as it can catch true emotions while also acquiring candidness.

Photojournalism

Photojournalism is a form of journalism that involves telling a news story through collecting, editing and presenting news material for publication or broadcast-this generally includes still images, however, the term can also refer to video in some cases that broadcast journalism. It is a way for people to further understand and see what is going on in the world, rather than just hearing about it. Photojournalism follows a straight guideline in which the stories must be honest in journalistic terms. Photojournalists must be fully aware of what is happening in the world and around them as their footage contributes to the news media, helping communities feel a connection with each other. The images must have a meaning in the context of a record of events that was recently published; the representation of the situation must be fair and accurate in terms of tone and context; and other news elements can be combined with the images to make the facts relatable to the audience. A photojournalist is a reporter, like a writer, and is exposed to some compelling obstacles that comes with the job, such as weather, crows, physical access and even physical danger (En.wikipedia.org, n.d.).

Social Documentary Photography

Social documentary photography is a recording of the world, focusing on the social and/or environmental aspects of it. Its main aim is to grab hold of the audience’s attention and shine light on ongoing issues- often showing people of a less privileged life (En.wikipedia.org, n.d.).

Photographer like Lewis Hine, Henry Mayhew and Jacob Riis were involved in the start of social documentary photography, later developing further with the works of the Farm Security Administration (FSA) in the United States of America. They hired writers and photographers in order to document and report on the situations of poor farmers. This project gathered the likes of photographers Dorethea Lange and Walker Evans who documented economically threatened farmers, in the meantime creating s style in photography that documented social problems (En.wikipedia.org, n.d.).

‘Social groups’ with cultural and socio-economic similarities are often the focus of social documentary photography, however their lifestyles maybe be perceived as being harmful, shameful and discriminatory. Poverty, homelessness, the elderly, dangerous working conditions, and child neglect are among the many parts of a society that has been captured through this powerful type of photography- the reactions of such images has been led with the goal for social and political change (En.wikipedia.org, n.d.).

With the era of social documentary photography, there seemed to have been a change in that cameras were now seen as tools to promote social change, using this and other art forms to draw importance to inequality, injustice and the less prominent parts of society (Tate, n.d.). Social documentary photography can sometimes be biased and subjective, although not all photographers’ goals are for the promotion of social change. Robert Frank decided to begin making his photographs mirror his desire for artistic freedom, from 1949 onwards, when he shot stories that reformed this artistic medium’s potential. Another example is Lisette Model, who took close-ups of people on the street, generally without the subject’s awareness or permission, in New York, Paris and the French Riviera (Tate, n.d.).

Placing works that relate to social documentation in museum, galleries and similar public places can help find new audiences and spark discussion on the power of photography and its creator’s intentions since the increase of digital technology has led to a smaller desire for published photography. The things that shape our world today are given a chance to be represented and understood through documentary photography which is a great role in itself (Tate, n.d.).

The Documentation of War

War is one of the most controversial topics that have often been captured through social documentary photography. Many people were shocked when they saw war portrayed through real life photographs in newspapers for the first time during the American Civil War as they were suddenly witness to the reality and gruesome details of death in war. Previously, inaccurate stories of heroism were fed to the public, and so this raw footage snapped individuals out of the sugar-coated facts of war that they were being shown. They were faced with images of rivers full of blood, fields of dead bodies, and physically hurt soldiers fleeing as they clutched their guns, and so this gave people a much more serious impression on war and all that this life-or-death situation includes.

Roger Fenton is thought to be the first photographer that documented war. In the 1850s, Fenton conducted an image titled ‘Valley of the Shadow of Death”, which was of cannon balls across a desolate landscape instead of actual images of battle due to the long exposure time needed- the metaphorical image still, however, creates an unnerving feel to it despite this (Telegraph.co.uk, 2009).

Another more powerful and controversial image is one taken by Robert Capa taken in 1936 and titled, ‘Loyalist Militiaman at the Moment of Death’, which, when it was published in French magazine Vu, strengthened the Republican cause and provoked uproar. For some it was believed to be a universal anti-war statement, however, to others this image depicted a symbol for anti-Fascism (Telegraph.co.uk, 2009).

One of the most chilling and contentious war related images ever captured was 1972’s ‘Kim Phuc in a napalm attack’ captured in South Vietnam by photographer Nick Ut. It depicts fie children running down a road in fear as the area is struck accidently by a napalm attack. The image was widely published across the globe, cementing in people minds and further portraying the harshness and unjust situations that occurred during the Vietnam war. It was reported that historians believe that images like this greatly affected people’s homes, causing individuals to protest against war and campaign for peace, and later becoming a part of the end of war (Telegraph.co.uk, 2009).

Another extraordinary moment was captured by Jeff Widener ‘Tiananmen Square protest’ which depicts an unknown figure standing audaciously in front of four army tanks on a road, challenging them after the tanks were sent by the government to kill hundreds of students, workers and children in order to demolish the protest that was occurring in Tiananmen Square (Telegraph.co.uk, 2009).

Because of works like these, the political connections to photography were quickly being understood.

Social Issue Images that Changed the World

Pulitzer Prize winning image ‘Sudanese child with a Vulture’ was captured by Kevin Carter. It depicts a skinny, starving toddler lying curled up in a field as a vulture stands behind it, waiting. This image was a perfect illustration of famine in Sudan and its cruel effects that it had on the people that fell victim to it. Within three months of this photograph gaining popularity, Carter committed suicide, drawing massive attention to the situation of the photographer (Telegraph.co.uk, 2009).

Elliot Erwitt captured the lifestyle within social segregation with this piece titled ‘Segregated Water Fountains in North Carolina’ in 1950. The images show two drinking fountains, one labelled ‘white’, the other labelled ‘coloured’, as a black man bends down to take a drink. The need for change came after this symbol of an unjust situation and shows the progression on the world and its relation to social segregation today (Telegraph.co.uk, 2009).

In politics, imagery has always been nerve-wracking for the government because the images can be so powerful that it can persuade people’s minds with their propagandistic qualities. Before photography came around, Emperor Louis-Philippe banned caricatures in 1835 as he believed they were ‘acts of violence’ that were too dangerous to be left without review- this lack of freedom of the press showed just how affective imagery relating to a certain topic is (Dailey, 2017).

Society has a few biased and conflicting standards as to what is acceptable and what is not. Photography is the medium that has been subjected to most censorship in society along with discussion about it. Images denounce censorship, whether the photos display nude figures, fictional depictions of violence, or even crucial, photojournalistic imagery of the world and some issues within it. Mainstream censorship can deter the public away from the true importance of important social issues that occur daily. Whether affected by it or not, opening audiences up to this type of material is beneficial in promoting social change (Batista, 2014).

Photography Used for Social Change Today

Photography and imagery have become such a huge part of todays society as we rely heavily on it to make form opinions and decisions. Artists and photographers help tackle social issues by creating pieces of work that blatantly address the topics in question so that the larger scale audience can see the critical nature of such issues in a different way than what they may usually hear about it, such as the news. The stories are portrayed in a different light, giving emotion and life to the victim’s stories so that they feel a connection with the audience on a more relatable, personal and sympathetic level.

In 2017, three-year-old Alan Kurdi’s lifeless body was found lying face down on a beach after drowning as he and his family tried fleeing Syria. The photographer that captured this heart-breaking image, Nilufer Demir, says, There was nothing left to do for him. There was nothing left to bring him back to life, I thought, This is the only way I an express the scream of his silent body” (Demir, 2015). This image shocked the world, calling for more discussion on immigration laws and the efforts families take to flee their war torn homelands. Demir’s image, taken on the doorstep of Europe where the refugees were heading, became a defining photograph of the ongoing war that had killed 220,000 people. It circulated the internet within hours, gaining power with every time it was shared. The decision of whether to publish or defend not publishing the image or not was the choice of news organizations.

This image displays a more hopeful feeling as Christians and Muslims hold hands after the Cairo uprisings in 2011 (All That’s Interesting, 2014).

This image is one of the most widely surfaced of 2013- it depicts two women protesters standing among Turkish riot police in Instanbul’s Taksim Square as one of them police uses tear gas against the woman in the red dress (Reuters/Osman Orsa) (Rohde, 2013). This image shows the publics response to social issues and the power that it has had on them, leading them to protest.

Police Brutality Footage

Sometime, photography, whether film or still photo, of an amateur nature can be crucial in determining facts whilst also gaining worldwide attention and outcry for the wrong reasons.

New Zealand artist Luke Willis Thompson addresses killings of unarmed black men in America with his work-. He works using installation, sculpture, performance and film in order to help overcome macabre stories in history that address racial and social inequality, colonialism, class, institutional violence and forced migration. After researching stop and searches that were conducted by police on the basis of the person’s race, Thompson responded to this through his photography project which includes a silent black and white film titled ‘Autoportrait (2017)’ in which Thompson describes in an email to the subject as a “cinematic film portrait”. The subject, Diamond Reynolds, is shown answering questions, however the audio is muted. Reynolds is a victim of one of a number of unnecessary police killings when her partner Philando Castile, a 32 year old black American, was shot 7 times and killed in the car she was in with her child all within 74 seconds as she Facebook livestreamed the aftermath of the traumatic event that occurred on July 6th 2016. In this art piece by Thompson she has the camera devoted to her shoulders upwards as she stares emotionlessly down (Luke Willis Thompson | Turner Prize Nominee 2018 | TateShots, 2018). This imagery and deafening silence force the viewer to further think about and understand the story behind the person and the significance and vitality of the topic. The footage Reynolds took went viral, provoking human reactions in many people worldwide, and so this shows the power of photography and film when such horrific incidents occur.

The case of black American man Eric Garner in 2014 is was also one of the top profile cases that surfaced because of the footage that was caught when police used unnecessary force and suffocated him for selling cigarettes outside of a store. This video evoked a large amount of sympathy and pain within its global viewers as the actions are clear in the video, shocking people into wanting to gain justice for Garner and all the other black men wrongly murdered by police.

In conclusion, photography can be extremely powerful in getting an important social issue, that may affect a great deal of people, across to a wide audience in sometimes a short mount of time. Documentary photography records events and/or circumstances while also maintaining a level of professionalism compared to other types of photography. Social documentary photography focuses on environmental, social and other worldly issues that need more open discussions on, hopefully acquired through this medium. Cameras and people, whether professional or not, can together create great images that triggers sympathy in the public, calling for what action can be taken in the fight for social and other injustices. Social documentary photography gives these topics another platform for expansion so people who may not hear about such issues get a chance to learn about them visually. War is on of the most difficult and controversial topics to be photographed, and although the images may be shocking to some, it has caused an uproar which has led to protests and social change in hope of paving.

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