During coursework this week, we explored issues of power and responsibility as photographers. I am very clear on my own morals, ethics and responsibilities as a photographer, however, I found it difficult to come to terms with power. This is a concept I was initially very uncomfortable with as I had never considered myself as powerful in my role as a photographer or as having power over others in this capacity. 

Upon reflection I came to understand through Henri Cartier-Bresson’s concept of the decisive moment, that the moment of decision, choosing when to take a photograph, was actually an act of power. This led me to consider how as photographers we should reflect upon why we choose a particular subject to portray, or a particular moment in time to capture, and what we will include in the frame. Conversely, what we exclude or leave out – the photographs never taken – are equally significant. What is present or absent in an image is a conscious decision made by the photographer that will not only create meaning but will speak of the photographer’s relationship to the subject matter.

Our tutor, Jesse Alexander, emphasised that it is vital for us as photographers to understand the relationship between subject, image, viewer and photographer, and that it is our moral and ethical responsibility to make that relationship as fair as we believe is reasonably possible. In discussions on the forum, we looked at how photographs can be misused, and debated our responsibility as photographers in this context. It made me extremely aware of the need to be careful about who I am willing to work with and just how much ownership of my work I am prepared to give away.

I think its also extremely important to be aware of the kind of contracts involved and define both who the contract serves and protects.  We always have a moral and ethical responsibility that is implicit in our work as photographers by virtue of the relationship that exists between the photographer, the subject and the viewer. For me this triangular ‘model’ is a good starting point from which to make ethical judgments about my own photographic practice or that of another, and to enable me to assess the balance of power in each situation. We need to always be aware of the power of an image and therefore be discerning and sensitive in the way we work.

In peer debates privacy and dignity were raised as being important to ethical photography, and this is very pertinent to me as somebody with an interest in both street and social documentary photography. I had in fact been considering working on a project around social issues in the urban environment, in particular homelessness.  I am acutely aware of the vulnerabilities in these circumstances and how essential it is to protect what little privacy and dignity such people have. 

The conflict for me is between feeling I have a responsibility to tell the story while constantly questioning myself around the moral aspects of photographing such vulnerable subjects. I believe it is essential to be sensitive towards the subject, to be very clear on personal integrity, and to work collaboratively where possible.  I particularly feel that collaborative work is not only ethical but also empowering for all involved and is particularly important in portraiture, photojournalism and social documentary photography.

I am currently focusing on urban architecture and some street photography, so in this context it’s very important for me to understand the law,  particularly in respect of private buildings and photographing people.  My first responsibility is always to make sure I know the law and to work within those boundaries while also maintaining my rights as a photographer. The second very important aspect for me is to consider the subjects that I am photographing and to make sure that I am photographing with sensitivity, respect and compassion.