Histories of Photography - Essay Example

Histories of Photography The Photographers Eye This essay looks into John Szarkowski’s five interdependent characteristics of the photographic image: the thing itself, the time, the image, the detail and vantage point. Szarkowski believed that these five interdependent characteristics would help in formulating a critical perspective that would be more responsive to the unique phenomena of photography (Szarkowski 8). The problem statement is to find out whether Szarkowski failed to recognize any particular kinds of photographs in his analysis, and how he influenced the direction of photography in the late 20th Century. The thesis of this paper is that, modern day photography draws its insights from Szarkowski’s principle of photography as an art, since it teaches photographers to be not only creative, but imaginative. Analysis The Thing Itself Szarkowski believed that photography deals with the actual; the photographer has to accept the fact that he had no control of nature, and on in accepting and treasuring this notion would he manage photography. The photographer had to learn that the world was a unique and creative artist in itself. Szarkowski believed that though photographs were factual and convincing, they also differed from reality. The photographer had to see the filtered elements of reality and visualize the photograph before taking it, in order to capture these filtered element of reality on the photograph. The ability to do this was not only artistic; but also a way of showing truth, which the naked eye could not see. Szarkowski quotes from Hawthorne’s book, The House of the Seven Gables. Holgrave, a fictional character in the story, describes his camera as showing the truth despite trying his attempts to hide reality. In this case, the image survives reality and became the remembered reality. William M. Evans states that, “people in the nineteenth century believed that what was reasonable was true but in the end, they began believing that what they saw in a photograph was true” (Szarkowski8). The photograph below illustrates this phenomenon: Archaeologia Mundi (40, 55, 82, 108, 133, 135) (2011) by Hagar Schmidhalter. The Detail According to Szarkowski (p. 9), the photographer cannot pose the truth; the truth appears the photographer in fragments, therefore, the photographer is only able to capture fragments of this facts. A photograph cannot tell a story of fact; it can only depict fragments of this fact. However, Szarkowski adds to say that though photographs do not tell stories, they can be read as symbols. People can draw meaning from a sequence of fragmented photographs. Szakowski states that photographs are not meant to tell stories, rather, they are meant to make the story real; he believes narratives to be shallow, and that only photography possesses the power to show symbolic meaning (Szarkowski 42). A picture of a Soccer match does not show the results of the match, but it does capture a moment of happiness or otherwise, that has symbolic meaning to the end result of the game. E.g. Cardiff vs. Manchester United by Stu Foster (1/12/2013). The Frame According to Szarkowski (p. 9), the subject of a photographer is never self-contained; it is part of a bigger picture. The photographer, therefore, decides to isolate what it important (the subject), from its environment using the photographic edges. This frame concentrates on the edges – the line that separates the subject from its environment. In the case of the football match above, the subject is separated from its surrounding by the edges of the photograph. This defines what the photographer deemed important, but does not tell the whole story since the subject is part of a bigger surrounding. Time Photographs are not instantaneous, but rather exposure of the scene over a period of time result to real image. Photographs always capture the present, never the future; they can allude to the past through its surviving relics or foresight of the future based on present factors Szarkowski (p. 10). Szarkowski describes methods of producing unique images; the long time exposure method which captured movement due to the slow lenses of the early days and; the modern short time exposure that accurately captures moments during movement that the naked eye cannot show due to the fast movement. For many years, most artists painted the horse with one leg always on the ground at a trot. Eadweard Muybridge’s photograph of the galloping horse enabled the viewer to see details not visible before. Galloping Horse by Eadweard Muybridge. Vantage Point Though much has been said about photographs clarity, little has been said about obscurity. The photographer has to pick the vantage point from which to photograph the subject. This presents a different angle from which people can view the world. Nature presents the photographer with difficult vantage points that he/ she would not ordinarily choose for themselves; the subject is usually either too far, too close, at a wrong angle or wrong height. It is upon the photographer to choose the best angle to capture the subject (Szarkowski 11). The picture below depicts a pictorial angle that would otherwise be missed by the naked eye, but captured by the vantage point of this photograph. Dog by Elliot Erwitt Conclusion Szarkowski’s work barely fails to cover sectors in photography; his elaboration of view, time, frame, detail and the thing itself covers basic photography concepts. This would explain why Szarkowski’s photographs are a work of art. Szarkowski inspired the 20th Century and the contemporary photographers to be creative; in his own view, a photographer needs to approach photography with no preconceptions of what photography is about, or with ideas of what photography is about. If a photographer is to learn the art of photography, it is important for them to empty their minds of what they know, and to make new truths with what nature has to offer. The history of photography is more of growth than a journey; it is more of a centrifugal motion than a linear motion. People often come up with new things and this discovery infuses into people’s minds due to the insights drawn from Szarkowski and other famous photographers. This proves that Szarkowski inspires modern day photography through his advocacy for creativity and imagination. 2. Social Documentary Work Documentary photography is a form of photography used to document historical events. It is mostly associated with the recording of people in the disadvantaged, underprivileged and natural condition. It is mostly significant in professional photojournalism but may be used for academic, amateur and artistic purposes. Social documentary work is famous for its pursuit of hidden, unknown, forbidden and hard-to-access areas or circumstances faced by the members of society. Between the late nineteenth Century and the early 20th Century, the course of photography shifted from an antiquarian and landscape subject perspective, to that of the city and its crises. Between this era, few individuals can be attributed to this revolution of photography; Jacob Riis, Lewis Hine, Walker Evans and Dorothea Lange. The thesis of this essay is that, documentary photography plays a major role in advocating for social and political change. Analysis Jacob Riis and Lewis Hine Jacob Riis was an urban social reformer; he took up photojournalism due to his passion and devotion to change the inhumane conditions that people lived in the rapidly developing urban regions (Jensen 3). Lewis Wickes Hine followed soon after with his advocacy for the improvement of child labor laws in the U.S. He used photography in his surveys on the child-labor conditions and eve worked with the National Child Labor Committee (NCLC). The pictures below show some of Riis’ and Hine’s photographs of the social issues of the 19th and 20th Century; Child Laborer (1908) by Lewis Hine Bandits Roost (1988) by Jacob Riis Both Riis and Hine focused on socioeconomic and cultural issues that faced individuals; their type of photography can be defined as concerned photography since they focused on issues relating to discrimination, injustice, harmful, shameful working or living conditions. Their photography would then be used to advocate for social reforms. These photographs gave a clear picture of the state of industrial and Urban New York and the United States in general. Jacob Riis used his photographs for reformist publications. His interest was to find out the fate of the immigrants, and also advocated for improvement of education facilities. On the other hand, Lewis Hine used his photographs to support progressive movements and other urban reform movements, most notably the National Child Labor Committee (Raney). Lewis’ pictures showed impoverished children, child neglect, and harsh conditions of child labor, while Riis’ work focused on poverty among segments of society, social outcasts, hazardous working conditions etc. Their ideology was to eradicate these inhumane conditions in the urban areas of the United States. Their photographs show a desire for social and political change. The camera proved to an instrument that fought social injustice. Walker Evans and Dorothea Lange Walker Evans and Dorothea Lange were legendary photographic documentarians funded by the Farms Security Administration (FSA) to cover issues relating to the Great Depression of the 1930s. Their main goal was to not only record accurate facts, but to call for social change in both rural and urban areas. Their main roles were to photographically document and report the plight of poor farmers in the rural area. Their objective and passion was to “introduce America to Americans”; a concept which would bring about social change, by the people, for the people (Every Picture Tells a Story). Migrant Mother by Dorothea Lange (the Great Depression) Allie Mae Burroughs by Walker Evans (Great Depression) Walker Evans and Dorothy Lange were two of the most influential photographers of the FSA; unlike Riis and Hine, Evans and Lange focused on issues in the rural areas of the United States, they explored poverty, the great depression and the woes of farmers and sharecroppers. They aimed at changing the lives of farmers who either lacked land or lacked resources. Through their photography, the FSA could push for social and political reforms to help the rural farmers. The government disbursed loans due to the efforts of the FSA and their photographers(Every Picture Tells a Story). Newspaper journalism is an influential source of information; it allows people to be aware of social issues in society; issues that would otherwise be alien if not publicized. Newspaper journalism acts as the voice of the people in that, various injustices and social ills are highlighted in newspapers. Riis and Hine managed to employ newspaper journalism to the effect that they brought about social and political change. The National Child Labor Committee (NCLC) was a body that advocated for children’s rights, especially reforms in child labor laws in the United States. The NCLC promoted the dignity, rights, well-being, awareness, and education of children and youth in relation to work and working conditions. Lewis Hine, a patriotic sociologist, worked closely with NCLC to advocate for children’s rights through his photographic portrayal of the harsh conditions that kids went through at work. This NGO still works today, advocating for children rights, dignity and well-being (Raney). The Farm Security Administration (FSA) was a resettlement body that advocated for rehabilitation and improvement of the lifestyles of poor farmers, sharecroppers, and tenants in the rural areas. The FSA was at the forefront of those who advocated fought against poverty. They rallied farmers against an unjust social system; they employed the resources of Walker Evans and Dorothea Lange between 1935 and 1944, during the great depression, to push for their land ownership and improved farming methods reforms (Every Picture Tells a Story). The FSA remains very important in the US and currently operates as the Farmers Home Administration. Conclusion This essay shows the role played by journalism, independent bodies and social documentary works in advocating for social reforms, especially the improvement of oppressed lives; it is important to note the input of photojournalism in this process and, the works of Riis, Hine, Evans and Lange. It is therefore; fit to conclude that, documentary photography plays a major role in advocating for social and political change in society. Works Cited Curtis, James. "Making Sense of Documentary Photography." History Matters. N.p., n.d. Web. 4 Dec. 2013. . "Every Picture Tells A Story (1)." Every Picture Tells A Story (1). N.p., n.d. Web. 4 Dec. 2013. . Jensen, Lauren. "The Photographs of Jacob Riis: History in Relation to Truth." Digital Commons. N.p., n.d. Web. 4 Dec. 2013. . Raney, Vanessa. "Bibliography." Child Labor and Lewis Hine: His Life and Work. N.p., n.d. Web. 4 Dec. 2013. . Szarkowski, John. The photographer's eye. New York: Museum of Modern Art; distributed by Doubleday, Garden City, N.Y., 1966. Print. Read More