When considering photography as an art and within our own practice, we should be questioning authenticity in the photograph and considering what sort of truth it may offer. It is also relevant to compare this with other art forms both visual and written representations of subject matter.
“The painter constructs, the photographer discloses. That is, the identification of the subject of a photograph always dominates our perception of it – as it does not, necessarily, in a painting.” (Sontag, 1977, p.92)
We generally tend to see photographs as representing the truth, as we believe they represent reality. Photographs are, however, an interpretation of reality, and an entirely subjective representation of the subject. In my own photographic practice, I had previously believed that my own work was a neutral documentation of the urban landscape. However, I have come to realise that neutrality is an impossibility as each image is a choice and a conscious decision to capture a specific subject matter, at a specific moment in time and to choose what will be included within or excluded from the frame. This in itself means there is subjectivity in the way reality is depicted.
Photographs are often viewed as evidence of the existence of something, but we must always be aware of the difference between what is photographic fact and what is constructed fiction.
“Photography’s plausibility has always rested on the uniqueness of its indexical relation to the world it images, a relation that is regarded as fundamental to its operation as a system of representation. For this reason, a photograph of something has long been held to be a proof of that thing’s being, even if not of it’s truth.”(Batchen, 2002, p.139)
Photography, however, cannot be relied upon as a mark of authenticity or truth. Photographic images do represent some sort of reality but what do they really tell us – are they metaphors, or constructed realities used to convey meaning? All images are based on something that once stood before the camera, however, the end result can be manipulated, particularly in the digital age.
I am of the opinion that photography is real and authentic but not always true – this will largely depend on the context of the image, and the intention of the photographer. Other forms of visual art are easily recognised as visual constructions and therefore subjective in their nature. Written representations are also viewed as subjective and evaluated according to their context. Yet photographs are readily assumed to be the truth because they so accurately represent our perceptions of reality and seem to replicate the same view as seen with the human eye. The mechanical processes and tools of photography lend it authenticity but this should not be confused with truth.
We should also remember that the mechanical aspect of photography is where the image begins or originates, but this does not entirely reflect its position as a form of art, or include its transformation from conception to art. Sontag (1997) emphasises that a photograph cannot exist without its subject, a fact that differentiates it from other art forms, but she also acknowledges that it is inherently an interpretation of the subject.
Photography is deliberate and the choices made by the photographer are what determine the photographic reality, while the subject itself creates authenticity. Truth however is not absolute and if there is such a thing as a photographic truth it could only ever be viewed as relative as it is dependent on the context in which it is created and the context in which it is consumed.
Thus, in my opinion, photography has both an indexical and an iconic nature, which is inherent in the relationship between the image and the subject. While indexicality is what gives an image authenticity, it is the iconic and symbolic nature which moves into the realm of art, interpretation and subjectivity.
In my own practice this makes it important to think about how I portray my subject as it will be interpreted according to both context and the perceived reality of the image. What I choose to include or exclude in the frame will be important, as will the use of photo-editing software and contextual placement of the image within the narrative of a project. Even when I’m working within the framework of the snapshot aesthetic, inspired by artists such as Stephen Shore, the images are entirely deliberate and carefully selected to create meaning, relationship and metaphor.
In my image below, the metaphor is implied in the title, the idea that things are looking up and there is a light at the end of the tunnel. The iconic aspect of the image is represented by the tunnel or portal as it appears to be depicted here and the indexical aspect is the physical concrete and mesh structure. My conscious choice as to what I included within the frame enhances the statement and bold impact of the image, and deliberately obscures the location in order to make this more symbolic.
Batchen, G. 2002. Each Wild Idea : Writing, Photography, History. Cambridge: MIT Press.
Sontag, S. 1977 Susan Sontag On Photography. London: Penguin.
STAUDINGER+FRANKE – Photography, Post Production & CGI. 2020. STAUDINGER+FRANKE – Photography, Post Production & CGI. [online] Available at: http://www.staudinger-franke.com/ [Accessed 23 June 2020].
The context in which we both create and consume photography is constantly changing and transforming, opening up new possibilities and directions.
Price, 1994, states that the use of the photograph determines it’s meaning. In other words, the context in which we view the image determines its meaning. This is illustrated very well in the Benneton Advert which formed part of their controversial 1992 ad campaign which used an image by journalism student, Therese Frare, originally published in November 1990 LIFE Magazine. The original black and white image was of gay activist and AIDS victim, David Kirby, as he lay on his death bed. Two years later this image was recolourised by artist Ann Rhoney and used by Benetton in its campaign.
Different groups had different reactions to this image, however, it received a lot of heavy criticism and backlash as it was perceived as spreading fear and profiting from the suffering of others. Yet David Kirby’s own parents had consented to the use of this image, as did the photographer, who believed this was a powerful message to raise awareness. Benetton themselves stated that this was the first public campaign to address AIDS and was intended to show solidarity. It is obvious there were different perceptions surrounding the way the image was portrayed.
Benetton often used pseudocumentary style images in their advertising campaigns and many of their adverts have been highly controversial, drawing different responses from different groups of people. Their campaigns often need to be looked at on a deeper level to understand the meaning. I don’t personally find their images offensive, instead I view them as provocative and challenging, inviting the viewer to connect with the concept and engage with it.
Reaction could thus be considered a success as it has evoked emotion and engagement. More thoughtful analysis of their adverts, however, would lead to a response rather than a reaction. Their campaigns certainly illustrate how meaning can be interpreted by the viewer and also by the context in which the image is placed. These images were likely to have been judged much more harshly when viewed as advertising and seen in the context of magazines, than if they were seen in the context of documentary photography or art. More of their historic campaigns can be viewed on their website: Benetton Group.
In looking at my own photographic practice and the context in which it is created and potentially received, I relate very strongly to this quote by Barthes, as it is closely aligned to my own relationship with photography and what I attempt to convey in my photographic practice:
“The photograph is a message. Considered overall this message is formed by a source of emission, a channel of transmission, and a point of reception.” (Barthes, 1977, p.15).
My own practice is located predominantly within documentary style and urban landscape photography, both of which could be consumed through the format of printed photographic images, either as part of a collection, exhibition or individual prints, or within the printed format of a photographic book. No doubt there are other contexts to consider but these are what I feel are most suited to my particular practice.
In considering how my photographic practice may be received and interpreted by viewers, I believe that the context is very relevant and relates to the audience or consumer of the work. An example of context is apparent in the feedback I received for last term’s Work in Progress. The tutors felt it was repetitive in places, and needed more depth and experimentation.
I had shown this work to others prior to submitting the assignment and received different responses from them. What I noticed was that people who lived in Bristol and weren’t photographers all felt a sense of sorrow within the images and knew exactly what the series of images was about. This led to them relating to the images and expressing their own feelings about the space being depicted and the events surrounding the images.
I also showed these images to people who were photographers but didn’t know the story behind the images. Most of them picked up on the narrative by spotting the clues in the images – things such as the changing seasons, the colour yellow and the link to the yellow lines, the strong sense of desolation and loss, and of course the missing bear.
What is very apparent is that there were three different perceptions and sets of responses to the same images based on the context in which they were viewed: critically as part of the MA Photography assignment, emotionally by people who lived in the area and related to the story, and technically by other photographers. This is something I will always need to consider when creating photographic projects and when making decisions about the context in which they will be consumed and who the audience is intended to be.
Resources:
Barthes, Roland (1977). ‘The Photographic Message’ in Image Music Text. London: Fontana.
In January 2020, I visited the Tate Modern to explore the Ed Ruscha collection on display in their Artist Rooms. As an avid fan of Ruscha’s work I was eager to see this display encompassing a selection of his works spanning across his entire career and including his photographic books, photographic series and some of his iconic paintings.
Text has always been an integral part of Ruscha’s work with his clever use of typography and seemingly random use of isolated words and phrases. This was the first time that I have seen his paintings, all of which incorporated interesting textures and words or phrases superimposed on landscapes or sometimes on plain backgrounds.
Ruscha’s early career was as a graphic artist and it is clear that he draws upon these techniques to create his art, cleverly working with different styles, fonts and layouts both on canvas and within is photographic books. Ruscha’s background in graphic art also influences his use of language and text as he frequently draws upon the language of advertising and adverts. This is quite obvious in works such as the one below:
Pay Nothing Until April 2003 Edward Ruscha born 1937 ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d’Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008 http://www.tate.org.uk/art/work/AR00047
The same language of advertising also appears in his photographic books with titles such as Some Los Angeles Apartments (1965) and Real Estate Opportunities (1970). Furthermore, this is a language that appears in Ruscha’s images and artwork not only as words, but also as a visual language through objects, signs and various other symbols.
Ruscha was fascinated by sign painters and he was inspired by the colourful billboard signs he saw all around him in Los Angeles. In a fascinating interview with Tate Modern’s Director, Frances Morris, he also refers to speeches made by people such as Mohammed Ali and authors such as Gertrude Stein, people who had a colourful and descriptive way with words. Ruscha describes these as being early influences that were part of his environment and his history and which later became incorporated into his work.
Ruscha is a talented conceptual artist and seeing his paintings gave me a greater understanding of his photographic works as it emphasised how he approaches his subject matter as a conceptual artist influenced by his earlier career as a graphic artist in the advertising industry. He incorporates text into his paintings in ways that are often out of context or at odds with the image in order to emphasise stereotypes and cultural conditioning. In his photographic books and series, this influences his choice of subject matter, the clever use of repetition of a theme or concept, his unusual book titles, and the use of very minimal words in his books, as well as the layout of his images.
His use of everyday words and phrases combined with images of the banal have create Ruscha’s iconic conceptual artworks. The image below is inspired by British writer J.G. Ballard whom Ruscha greatly admired. The text is taken from Ballard’s 1975 novel, High-Rise, a dystopian novel that revolves around a modern residential tower block and the process of social breakdown which occurs in this setting. The text appears at odds with the tranquil landscape it is superimposed upon, creating a contrast between two very different landscapes and states of being. Interestingly, J G Ballard, once said of Ed Ruscha: “The coolest gaze in American art.” (Ed Ruscha: ‘There’s room for saying things in bright shiny colours’, 2020)
Ruscha finds inspiration in his everyday environment and in the banal, transforming it into art and offering a form of commentary on American life and politics, stereotypes, consumerism and mass media imagery. He draws upon the topography, architecture, and mundane objects of his environment, in particular his home town Los Angeles and Hollywood and attempts to record what he sees. He draws consistently upon the urban landscape, as well as the typical cultural brands, icons, signs and language that form part of the ‘American Dream, for example cinema, the automobile culture, billboards.
For me there is a fascination with Ruscha’s focus on the icons of the ‘American Dream’ as there is something alluring about the concept of the American automobile culture and the classic road trip that is perhaps resonant with my own childhood experiences and landscapes growing up in South Africa. The similarity is in the wide open roads and constantly changing landscapes, the isolated petrol stations along the way, as well a the fascinating signposts, local icons and well known brands. The large American cities and icons were always present in the films of my teenage years and the Hollywood influence feels always familiar as a result. Ruscha’s interest in the urban landscape and it’s banal details, inspire much of my current photographic practice as I now find meaning in the urban landscape in which I find myself and which forms the narrative of my daily life.
At the start of a new term and new module, I begin with a short reflection on the feedback and assessment for the previous term. Overall, I was disappointed in the grades I received as these showed a considerable drop since the first term. The feedback itself was relevant and helpful, certainly aspects that I will take on board and integrate into my future practice, particularly the suggestions to experiment with different photographic techniques and methodologies, as well as different ways of presenting a portfolio.
What concerned me the most was that I didn’t necessarily feel that my artistic vision was communicated clearly enough, or that it was fully understood, and I have been left with many questions on whether my choice of project is suitable or if my technique is good enough. I have spent the holidays feeling tremendous self-doubt and questioning my abilities as an artist. I’ve had to remind myself of my reasons for choosing to study and for selecting the particular project that I have, in order to return to the original integrity of my artistic choices and vision. This is what I now hope to be able to articulate and express clearly as I go forward this term.
“Photographs bear witness to a human choice being exercised in a given situation. A photograph is a result of the photographer’s decision that it is worth recording that this particular event or this particular object has been seen.” – John Berger (1972)
Not only do we make human choices in our photography, but we also have human responses to our subjects, whatever these may be. The dilemma or conflict that I have encountered in my own practice is the suggestion that I should choose between two paths or contexts, namely that of documentary or art – choosing whether my work will be subjective or attempt to be objective, whether it will be narrative or emotive, or both? Whether it will be a challenging and outward focused body of work, or a sentimental and self-focused body of work? My impulse is to attempt to find a synergy between the two, some kind of balance between apparent opposites and contradictions and this is what I attempt to achieve through the human choices I make as a photographer.
The intention of my work is to document what I believe are the last days of the areas in my city known as Stokes Croft and The Bearpit. Originally Stokes Croft referred to a section of road by this name, however, over time it has come to refer to an area surrounding this road which has a distinct cultural and community identity. This is particularly seen in the diversity of people, artistic enterprises and graffiti art which appears throughout the area, including artwork by the well-known Bristol graffiti artist, Banksy. I do not wish to romanticise the area or make it appear more glamorous than the reality of what it is, so I acknowledge and hope to portray that this area is not without its problems – it has historically been neglected by local authorities, leading to social issues and urban decay. However, the community itself has transformed the area into a colourful space of diversity, tolerance and freedom of expression, something I value and believe is important in our city.
It is my belief that it is only a matter of time before development will completely erode the character of this area, the slow creep of gentrification has already begun and just in the time since I started the MA, the Bearpit was locked down and stripped, the graffiti washed from the walls and Ursa the Bear, a much loved art installation in The Bearpit, was also taken down. This is the moment that I feel the heart of the city was wounded and the slow creep of gentrification had become visible. I do not purport to change this or to prevent it or to challenge it through my photography, as this has already been done by various groups and campaigns – the slow creep of gentrification has been eating away at the heart of this area for years already, so my intention as an artist and photographer is to preserve what I can through photographically documenting the area across time and before the cultural identity of the place is gone forever. At the same time my own feelings of loss and sorrow are what I also hope to convey within the images, as I believe this will explain and express my human choices.
My practice at this time might be considered as anti-establishment and anti-intentional which is even more pertinent because of the area my current project is documenting – the spirit of anarchic rebellion has always been the spirit of this place. I am not neutral in my feelings towards the area and the way in which it has been impacted by decisions made by a faceless officialdom and authority, yet I may not overtly express a political stance due to my personal circumstances and the nature of my employment. This is one of my limitations and also my challenge, to be able to express through image that which I cannot through verbal statement, to make clear my stance and feelings, and communicate that I am not neutral in the choice of what I photograph, of what I include in the frame and where I am located inside this narrative.
In many ways, academia and the arts, is also a form of establishment, and this could also be translated as conformism to contextual traditions and styles. Again this is one of the challenges for me, as I struggle to balance this desire to learn and inform my photographic choices without becoming mired in conformity or colouring this project with the perspectives of establishment. I aim for a raw, honest authenticity in my work – with no artifice or sense of construction to a scene, but rather a more spontaneous on the ground feeling to the images. I want the viewer to see the scene as it is, unapologetically flawed, imperfect and rough. I feel that I am most resonant with the tradition of the snapshot aesthetic, a technique that was made prominent in Stephen Shore’s American Surfaces. Inspired by Stephen Shore’s work, I aim to capture the mundane, the everyday reality in a way that begins drawing the viewer in as if they are part of the scene, really there, participating in the image and not just viewing it.
I want the images to be relate-able, to connect with the people who know this area, understand it’s character and recognise the places in my images, making this aimed to some extent at a niche market. Yet I believe that there are many communities that are similar and undergoing the slow creep of gentrification, which means that it will be recognisable to others from other cities, to other people who are experiencing this same sense of loss of community and place. The impulse to document places and their socio-cultural contexts in a way that creates this broader narrative is inspired by those photographers who have embodied the concept of the ‘American road trip’ into their work, in particular Stephen Shore, Alec Soth, Edward Ruscha. All three artists have incorporated travelling, or journeying, into their practice, be it through road trips or walking, be it across a country or simply in their own cities in a the so-called ‘on the road’ style of photography that I find tremendously authentic and honest.
“I fell in love with the process of taking pictures, with wandering around finding things. To me it feels like a kind of performance. The picture is a document of that performance” – Alec Soth (Magnum Photos, 2020).
These artists show a natural curiosity for the world they live in, an awareness of the beauty of the mundane and every day places and people, that tell the real story of a time and place. They are also all willing to undertake long term and large-scale projects in order to tell a compelling story of the reality of place and people. These are all aspects that influence my work and provide the context from which my work is informed despite being located in an entirely different part of the world and working in a far smaller scale. As I do most of my photographic exploration through walking, I also relate to the older French tradition of the flaneur, the urban wanderer and artist, as described by the French poet Charles, Baudelaire and embodied by photographers such as Eugène Atget andBrassaï. I also feel affinity to aspects of the related tradition of psychogeography, a concept defined by French philosopher and Marxist, Guy Debord, which brings in the psychological aspects to a place and adds a sense of the mysterious to my explorations of the urban areas in which I wander.
The act of walking is, in fact, integral to my photographic practice and my experience or sense of the places I explore, as it is this powerful and intentional act of walking which helps me to the understand and know the subtle nuances and details of a place, which is what I hope to share through my images. There is no artifice or gloss to the images or to this project as a whole, as this is what gives it authenticity – the gritty, real and tangible feel to the image – and it is authenticity that elicits a response. I believe this has been both my success and my failure simultaneously – it has been achieved but perhaps not understood without knowing the wider context of my artistic vision and the direction I am taking, something I have struggled to define and articulate. Perhaps this is related to the sense I experience daily of being ‘silenced’ by rules, regulations, systems of hierarchy and power.
Going forward, I aim to express more freely and clearly what I truly feel as I believe there is opportunity to express my subjective feelings within a framework of documentary narrative. I view the image,the photograph, as a form of communication – a way to start a conversation, engage with an issue or an audience, to tell a story and invite participation in this story. This impulse must naturally push me towards exploring street portraiture even though I am uncomfortable in this style. Conceptually, this is the next step to explore along with further immersion into the snapshot aesthetic, and possibly even exploring black and white photography as an artistic choice. I am considering exploring different techniques by using 35 mm film photography as a means to experiment initially and potentially including Polaroid to bring something a little different to the project as I move further into the process.
An important concept that I must emphasise and which is always central to my practice, no matter what context, technique or aesthetic I apply, I don’t want to decide for the viewer what they will feel or think when looking at the scenes I capture. I want them to experience it for themselves and to only become aware of my subjective feelings as the artist once they have already begun to follow the narrative as the viewer – this I hope to achieve through the small links and clues provided within the images, within their sequencing and layout, and potentially by the inclusion of text. This will hopefully invite the viewer to engage with the image and the narrative, allowing the viewer to become immersed into their own experience of the scene and only then becoming aware of my presence and feelings as a participant within the narrative, a character within the scene, in relationship with it or to it. There should be no fixed script, but rather a fluid and unique response to the experience as this is when narrative becomes dialogue; when viewing becomes experiencing. This is my aim and artistic vision – my human choice.
Journey Through the Lens 