1. Understanding Early Photography II
Realist and Documentary Perspectives

2. '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

3. 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

4. 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

5. Examples of Atget's work

6. More examples: Atget

7. 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

8. 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

9. Examples
Curing the Sick With Fire c. 1890

10. Examples: Early Japanese Photography

11. Later Examples: Dorothea Lange

12. Dorothea Lange ctd

13. 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

14. 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

15. 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?

16. 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?