Understanding Early Photography II Realist and Documentary Perspectives

'Realism' & 'Straight' Photography Photographs = frozen moments Early photographs needed long exposures; contemporary photographs do not – so photos today can be seen as capturing the instant, the immediate BUT ALL photos, once developed, represent the PAST Thus: all photos – indexical, historical SIGNS DOCUMENTARY photographers: focus on immediacy, minimal interference of photographer - increased ‘truth’/verite of image

What is a social document? Record of events, experiences, interactions and historical moments Emphasis on the SOCIAL (ie showing aspects of human society) aspects of events + historical moments Photographs as social documents: provide a visual record of day-t0-day life and important moments

Examples: Eugene Atget 1857-1927 French; focused upon ‘old’ Paris of the time Used ‘old’ photographic techniques – long exposures – many streetscapes shot in early morning – deserted – timeless quality Worked as sailor, small time actor before becoming photographer Interested in recording life of ordinary workers, poor people

Examples of Atget's work

More examples: Atget

Mediated, Representational Nature of All Photographs Even in documentary photography - photographer + camera stand between object + image seen So - ALL photographs - MEDIATIONS Even documentary photos - presence of photographer can subtly change situations; choices of photographer mean ONE perspective out of many possible perspectives is communicated All photographs - RE-PRESENTATIONS Ie product of selections, constructions, exclusions

Development of Documentary Photography Easier once lighter, more portable equipment was invented Rapid development of photo-journalism Photos recognised for value in higher circulation numbers of publications Adding to written reports Value in mobilizing + influencing people’s opinions Social Documentary Photos can be used to: Record Inform Explore Resist

Examples Curing the Sick With Fire c. 1890

Examples: Early Japanese Photography

Later Examples: Dorothea Lange

Dorothea Lange ctd

Understanding Meaning Meaning is : complex and contested Not eternally contained + fixed within a photograph Not stable + waiting to be ‘discovered’ Constructed through relationships Shifting, flexible, multiple

Interpreting Photographs Contextualisation is important Awareness that meaning can change depending on the context of viewing of photographs is needed Scholarly interpretations are theoretically driven, drawing on the following factors: Changeability of meanings Familiarity of some images Iconic nature of some images - role in cultural MYTH making Relationships between image + text Intertextuality – relationships between texts

Concluding Issues How much and what type of contextual information is needed? What factors led to photographer’s choice of subject, composition, materials etc….? What message (concept, issue) were they focusing on communicating? How much should we analyse just in terms of formal pictorial intentions ? What does the image as TEXT say? Content? Signs? Organising codes?

Concluding issues ctd How do viewers interpret photographic texts? What messages do they receive? How is their interpretation shaped by their social contexts + prior experiences? Semiological analysis: What are the concealed messages in these images? What are the subliminal messages? How do these images contribute to particular ways of seeing and experiencing the world?