The Importance of Social Documentary Photography and Criticism of its Use

Title: The Importance of Social Documentary Photography and Criticism of its Use

Author: Ava Wright

Publication Year/Date: May 2024

Document Version: Fine Art Hons dissertation

License: CC-BY-NC-ND

https://creativecommons.org/licenses/by-nc-nd/4.0/

DOI: https://doi.org/10.20933/100001303

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Abstract

This dissertation aims to show how social documentary photography has gainedsignificanceover the years and how it will continue to be considered a catalyst for social change. After a brief discussion on the origin of photography,thisessaywillfollowbyfocusingonphotojournalism.Its purpose was to inform the public of worldwide events and issues,photojournalismwasultimately used to spread news through images, making a record of history. Furthermore, an introduction to documentary photography willbeexpressed,highlightingitsimportancetosocialinjusticesandits challenge towards cultural change. In addition, the main focus of this dissertation will be the following of social documentary photography and the controversies the genre has faced since its introduction. Finally, we will see a conclusion which settles thedebateoftheimportanceofsocial documentaryphotography

Acknowledgements

Thisdissertationwouldnothavebeenpossiblewithoutthe ongoingsupportfrommysupervisor, DrAnnaNotaro.IwouldalsoliketosayaspecialthankyoutoJaneGeekieforcontinuously helpingmebuildmyskills,knowledgeandconfidencewithinphotography Animmense appreciationtowardsmybestfriend,andfellowartistLibertyThompson.Ithasbeenadelightto studyalongsideyoualltheseyears.Finally,ahugethankyoutomytwinsisterwhohasalways encouragedmetocontinuewithmydreamofpursuingmyartpracticeasacareer.

ChapterTwo

ChapterThree

I.TheControversyofSocialDocumentaryPhotography…………………………….19

II.

I.Introduction

Intoday'ssociety,andwiththepacetechnologyismoving,everyonecanbeconsidereda photographer.Now,insteadofcarryingacamera,wecarryourphones.Withthereleaseofnew smartphones,whichincludebetter-than-everhigh-definitioncameras,wecansometimesforgetthe historyofthetechnologythattookplacepriortomobilephonecameras.Itisimportanttomention thatphotographyisaskillthatrequires patience,andthephotographermustalsohavetheability toremainprofessionalwhilstworking.Inaddition,theaccuracyofaphotoshouldalwaysbe considered,Aphotographershouldalsoconsidertheintentionsoftheimageoncecapturedand releasedtothepubliceye.Photographyconfrontsitsviewervisually,similartoamemory,yetnot experiencedbythem.Inordertounderstandthesemotives,wemustshowabreakdownofthe originofphotography InChapter1,abreakdownofthesciencebehindthefirstphotographis shown,leadinguptotheintroductionanddevelopmentoftheworld'sfirstcamera.Progressing intoChapter2,theriseofphotojournalismisunravelled,detailingitsimportanceinsignificant historicalevents.Progressingthroughchapter2,documentaryphotographyisexplained,detailing itssignificancetochallengeitsaudiencetoevokefeelingstowardssocialinjustice.Finally,the finalchapterwillfocusonsocialdocumentaryphotography,themaininspirationbehindthisbody ofwork.Inthefinalchapterwewillseeaclearunderstandingofthegenreandhowithas impactedsocietythroughtheyears.

Chapter1

I.OriginofPhotography

Whentryingtounderstandtheimportanceofphotography,wemustgobacktotheverystart.This involvesgoingbacktotheveryfirstwaysofdocumentingimagesandtheintroductionofthe

inventionofthecameraalltogether.Beforethelifeofthecamera,wewouldrelyontheaccuracy ofstoriesandeventstoldbyoneanotherorfromdrawingsandpaintingscreatedbythosewho claimedtohavewitnessedtheactionsinlife.CameraObsecuracanbeseenasoneofthefirstways inwhichimageswereaccuratelydepictedfromlife,butwhatdoesthatmean?Andhowdoesit work?Whilstresearching,IfeltthebestexplanationcanbefoundwrittenbyTheNationalGallery ofArtthemselvesstating,“Thecameraobscura(Latinfor"darkroom")isanopticaldevicethat createsanimagebyfocusingraysoflightontoascreenorsheetofpaper”(WorldofIllusions, 2020)Howeverit’saccuratedateofrecognitionisunknown.OntheCameraObscura'swebsite,it mentionsthat,“Theearliestknownwrittenaccountofacameraobscurawasprovidedbya ChinesephilosophercalledMo-tzu(orMozi)in400BC.Henotedthatlightfromanilluminated objectthatpassedthroughapinholeintoadarkroomcreatedaninvertedimageoftheoriginal object.” (WorldofIllusions,2020)Ontheotherhand,wecanseementionedlaterthatmanyother exampleswerebeingformedaroundthesametime,“Severalotherscientistsexperimentedwith lightpassingthroughasmallhole,butitwasnotuntilthe11thcenturythataviewingscreenwas usedtoseetheinvertedimage.Alhazen(orIbnAl-Haytham)issaidtohaveinventedthecamera obscuraandthepinholecamera,whichisbasedonthesametheory Hecarriedoutexperiments withcandlesanddescribedhowtheimageisformedbyraysoflighttravellinginstraightlines.” (WorldofIllusions,2020)Withcameraobscurabeingimprovedandcomingtolife,westillhadto consideritsaccuracy.Manybelievedthatalthoughtheseimagesweretracedintodrawings,they couldbeeasilymanipulated,alteringthetruthoftheimage.Ourintroductiontothefirst photographisnotrecordeduntilover2000yearslaterbyJosephNicephoreNiecepe,aFrench scientist.ItisexplainedthatNiecepeachievedthis“Byexposingabitumen-coatedplateina cameraobscuraforseveralhoursonhiswindowsill,Niepcecreatedaphotographshowinga

courtyardandoutbuildings.”(Gillham,2023)MovingforwardfromtheoriginofCamera Obsecuraandthepinholemethod,scientistsacrosstheworldwouldclaimnewinventionsand proceduresbyusingdifferentchemicalsonseveraltypesofmetalwithdiversewaysofexposureto introducenewtechniquesofdocumentingimagesprecisely.Onemethodwhichshouldbe highlightedincludesthedevelopmentoftintypephotographs.Thesewerecommonlyusedto documenttheAmericanCivilWarin1861.“Comparedtoitspredecessors,tintypeswerenotonly inexpensive,theywerealsoquickandeasytoproduce.Infact,askilledphotographercouldhavea tintypereadyforacustomerminutesafterthepicturehadbeentaken.”(Adams,2018)Fromthis, wecanseesocialdocumentaryphotographyemergingpriortodistinguishedtitles.Imageswere becominginexpensiveandmoreaccessibletothepublic.Fromthisera,westarttoalsoseethe foreshadowingof“streetphotography”however,knownatthetimeas“sidewalkphotographers.”

Asequipmentstartedtocompressinsize,“Mostearlytintypeportraitsweremadeinformal photographicstudios,butlatertheywerecommonlymadebyphotographersworkingoutofa coveredwagon,exhibitboothsatfairsandcarnivals,andbytravelling‘sidewalk’photographers.”

(Adams,2018)

Asthingsinthephotographyworldbegantodeveloprapidly,thecostofmaterialsalsostartedto decline.Takingphotographswasbecomingfasterandcheaper,thereforemoreaccessibletothe public.Thenextstepwastocombinetheprocessandequipmentintooneform,asingularbody Thisinventionfinallybecameknownin1888withtheintroductionofthefirstkodakcamera.Met museumexplainstheimportanceoftheportablecameraastheystateitwas,“Byfarthemost significanteventinthehistoryofamateurphotography[wastheintroductionoftheKodak#1 camerain1888]”Inordertohavethefilmdeveloped,youwouldshipthemachinebacktothe factory,wheretheywouldinsertnewfilmandshipitbacktoyou,whilstdevelopingtheoriginal roll.(EastmanMuseum)However,theyarguethatthephenomenonthatthekodakcametobewas notfromitscompactabilityandneweasytotransportfigure,butfromhowEastmanmarketedthe producttothepublic.“Hemadephotographyaccessibletomillionsofcasualamateurswithno particularprofessionaltraining,technicalexpertise,oraestheticcredentials.”Toexpresshoweasy itwastooperatethecamera,Eastmanusedtheslogan,‘Youpressthebutton,wedotherest.’Their advertevenfeaturedchildrenusingthecamera,asawayofmakingitavailableforeventhe youngeraudience.Asquotedfrommyselfinaresearchreportwrittenatthestartof2023,which includedasectionontheoriginofphotography,Iexplainedthat“Witheachnewdevelopmentwe werefinallyabletoshowtheimportanceofhistoricaleventswithaclearimagetoaid understanding.Thoughitwasabreakthroughtoseethedevelopmentofphotographysucceed–it wasequallyimportanttobeabletospreadtheseimagesacrosstheworld.Inthe1920s,a circulationofinventionswasintheairtotacklethis,mostsuccessfullybeingthewirephoto machinebyEdouardBelin,”(Wright,2023)Thewirephotomachine,nownamedthebelinograph afteritsinventor,worksas“Apinpointoflightwouldscanthisrotatingpicturedrum,reflecting variablelevelsoflightbackontoaphotovoltaiccell.Thiscellwouldtranslatethelightintoan

electriccurrentthatencodeditsvisualinformationandtransmitteditintoawireoraradiosignal.”

(Dentler,2022)Thefirstmajoreventwecanseerecordedandsentbythebelinographisthe Hindenburgdisasterin1937.TheHidenburgh,ahydrogenfilledairship,“spentoneglorious seasonferryingpassengersacrosstheAtlanticinitsluxuriousbelly Thefollowingyear,theairship erascreechedtoaspectacularhaltwhentheHindenburgburstintoflameswhilelandingin Lakehurst,NewJersey.Thedisasterclaimedthelivesof36peopleandreceivedanunprecedented amountofmediacoverage.”(Tramz,2015)Fromthis,westarttoseetheemergenceof photojournalismanditsimportancetonewscoverageusedthen,andtoday.Overthenext30years, wirephotoswouldchangethewayofdeliveringnewsaroundtheworldtothepublic.KarenLee supportsthisbymentioning,“Asphotoscametodominatenewspaperfrontpages-insomecases overshadowingtheheadlines-wirephotosalsohelpedevolvetheideathatphotoscouldbenewsin themselves.Nolongerwerephotosseenasmerelyanadditiontothenewsstory-they increasingly werethestory.ManyiconicphotossuchastheraisingoftheflagonIwoJimabeganasAPWire Photos.”(Lee,2018)Thetimesensitivityinnewsnolongerbecameanissueaswewereableto sendandreceivenewsallwithin24hoursofitsoccurrence.Thoughweowethistotheinvention ofthewirephoto,itisalsoconsiderabletothankandincludetheinventionoftheTVbyJohnLogie Baird.(NationalScienceandMediaMuseum,2011).However,in1941televisionbroadcasting fromtheBBCwouldendaswarwouldbreakoutforthenext6years.Overtheseyears, photographywouldtakeakeyroleinthedocumentationofthewar,leadingtothesignificanceof photojournalismandhowwedocumenteventsthroughimages.(Wikipedia,2022) Inchapter2 wefocusonthistopicmoreindepth.

ThroughaVintageLensbyCollins(2009)

Chapter2

I.Photojournalism

Photojournalismwasaroundlongbeforeitsofficialtitlewascreated,Tatemodernexplainsthisby stating,“Photojournalismbeganwiththefirstpicturesofwarpublishedinnewspapersduringthe CrimeanWarandtheAmericanCivilWar.Howeverevenatthistime,theimagewasonlythereto enhancethetext,notleadthestory.”(Tate)WhenwerefertotheinventionoftheBelinograph mentionedearlier,itspurposewasnottostandaloneandlettheimagetellitsownstory,but, however,beusedasabackupofevidencetosupportthestoryandtogiveavisualrepresentation oftheevent.Theworldofphotographyneededatitletogivecredittotheseimagesthatwere capturedtotellastoryontheirown.Photojournalismdawnedandwasusedasarelationtonormal photographyhoweverwasdescribedas“aformofjournalismwhichtellsanewsstorythrough powerfulphotography.”(Tate)Thematerialsandequipmentusedforphotographyatthetimewere

accessible,howeveroftentargetedthewealthiersideofthepublic.Itisalsoimportanttomention thatthephotoswereoftentakenbythosewhowereveryhighlyskilledintheprofessionand understoodthesciencebehindtheprocess.(Muzdakis,2021)Whenwethinkofphotojournalism, weneedtoremindourselveshowimportantitwastomakethekeytool,thecamera,transportable. AfterdiscussingGeorgeEastman’sinventionofthecamerabackin1888,itwasnotuntilthe Kodakbrowniecamerawasintroducedthatwouldcrazethenationtotakephotosofeverything, everyone,andeverywhere.Fancyphotographystudiosandspaceswerenolongerneededtotake whatwasseenas“professional”photographs.(Gillham,2023)SupportedwithTatemodern’s argumentof,“Itwasn’tuntilthedevelopmentofthesmaller,lighter35mmcamerasandflashbulbs ofthe1920sthata‘GoldenAge’ofPhotojournalismreallytookhold”(Tate)Withcamerasnow lighterandsmallerthanever,theplacestheycouldbetakenwereendless.Itwasfromthisthatwe begantoseeasparkinphotojournalismasphotographerswerebeingsentacrosstheglobeto documenthugenewsevents.Therearemanyexamplesofphotographerswhohaveriskedtheir livesduringthisperiodofphotojournalismtorecordtheseevents.RobertCapa,aphotojournalist, wassenttoOmahaBeachin1944whileworkingforLIFEmagazinetodocumentD-DAY,known asthe“largestamphibiousassaultsinhistory.”(IWM)WehighlighttheimportanceofCapa’s photographsagainstotherphotographersonboardthemissionduetoCapaabortingthehelicopter tosetfootonthebeachforabetter,closerimage.(IWM)Later,thephotostakenfromthebeach wouldbenamedthe“Magnificent11”.Thiswouldbeduetoanunfortunateaccidentthattook placeduringthedevelopmentprocess.Outofvariousamountsofrolls,only11imageswould survivethedarkroom.(Magnificent11RobertCapa2020)

“Magnificent11”,RobertCapaExhibition(2020)

TheimagestakenbyCapaonOmahaBeachleavetheviewerwithafeelingofdespair,asthe depthbetweenphotographerandnarrativeareminimal.Capawouldoftenexpress,“Ifyour picturesaren’tgoodenough,you’renotcloseenough.”Afterputtinghimselfforwardto photographtheIndochinaWar,Capawouldbeinvolvedinaterribleaccidentthatwouldcosthim hislife,however,hewouldforeverbeknownas“aquintessentiallyfearlessphotojournalist.” (Tikkan,2009)

II.DocumentaryPhotography

Withthebirthofphotojournalism,manydifferentgenresofphotographygrewwithit.Following photojournalism,weseetheriseofdocumentaryphotography,includingsocial.Thedefinitionof documentaryphotographyassummarised,“isastyleofphotographythatprovidesa straightforwardandaccuraterepresentationofpeople,places,objectsandevents,andisoftenused inreportage.”(Tate)Itisalsoimportanttomentionthattheinspirationforthisdissertationcame frommyownpractice.Inthelast3yearsmyinterestinphotographyhasgrownthrough researchingandreadingthehistoryofphotography.ThroughtheyearsIhavebecomeincreasingly

interestedinmanyphotographersandtheirwork,alongsidetheiraimsandmotivesas artists/photographers.Tothisday,therearesomanyiconicdocumentaryphotographerstomention theworksofthosewhohavechangedthewayweviewphotographsasstoriesandphotographsas visualstorytellers.ArtistssuchasDorotheaLangeandWalkerEvansarenamedtwoofthefirst photographerswhoseworkcanbeconsidereddocumentaryphotography.Theirworkinthefuture wouldhavehadasignificantimpactonthehistoryofphotographyandhowwewouldremember theGreatDepressionthroughimages.Duringthisperiod,DorotheaLangewasworkingforan agencyasaphotographerwherehermainjobwastodocumentandbringlighttothestruggles beingfacedbythepublicduetotheGreatDepression.Duringherresearch,Langewouldtake severalphotographsofFlorenceOwensThompson,posedwithherchildrenwhilstworkingona farm.UnbeknowntobothLangeandThompson,oneofthesestillswouldlaterbecometheimage usedtorepresenttheGreatDepression.Langeevenadmittedthatshehadoriginallydrivenpastthe farm,however,laterdecidedtoturnback.(Dupecher,2018)InMichelleBorge’sbook.(2019, p.20)Documentaryphotographyreconsidered,Langedescribesherapproachtotakingimages, “Forme,documentaryphotographyislessamatterofsubjectandmoreamatterofapproach.The importantthingisnotwhatisbeingphotographed,buthow Myownapproachisbasedonthree considerations.First–handsoff–whateverIphotographIdonotmolestortamperwithor arrange.Second–asenseofplace.WhateverIphotographItrytopictureaspartofits surroundings,ashavingroots.Third–asenseoftime.WhateverIphotographItrytoshowas havingitspositioninthepastorinthepresent.”(Borge,2019)

WalkerEvans,alsoworkingunderthesamerequirementsasLange,setouttotakephotosofthe Depressionfromhisperspective.Evan’sphotosoftenincludedthestillnessofnearbyabandoned shopsandplacesofrespectincludingchurchesandfamilyhomes.(WalkerEvans1903-1975, 2004)Evanswouldalsoexperimentusingportraiture,eventhoughheneverfoundhimselfbeing connectedtothegenre.Thiswastoshowbothsidesbeingaffected,thepeopleandtheplaces. EvansandhiscollegewouldstopoffonoccasionstoafarmbelongingtoFloydandAllieMae BurroughsduringtheirresearchinAlabama.WhileAllieMaemaintainedthecabinanditsguests, Floydwouldtakecareofthefarmasacottonsharecropper.Duringtheirstay,Evanswouldcapture fourstillsofAllieMae,promptedupagainsttheoutsidewalloftheirhome,herfacewithablank emotion.ItwasthesephotographsthatgavetheviewerafeelfortheeffectstheGreatDepression hadonthosetroubledmost.Despitebeingaskedtobephotographed,shekeepsherrawfacial expressionsshown,herlipsoverlapping,withherbodyslouched,asifsheisembarrassedto participate.ThedepthbetweenbothherandEvansisminimal,whichmakestheimagefeelmore intimate.(TheExactingEyeofWalkerEvans,2011)Jordiexpandsonthisbymentioning,“itcan

MigrantMother,Tate(2009)

feelabitintrusiveatfirstforthesubjectsyouareworkingwith.So,itisespeciallyimportanttobe clearonwhatyouaredoingandwhy,knowhowtomovearound,berespectfulofotherpeople’s spacesandboundaries,andbegratefulwhenyouaregivenaccesstocertainsituations.”(Aviles& Todrass-Whitehall,2022)However,afteralltheseexamplesyoumightbeaskingyourself,whatis thedifferencebetweenthetwo?Astraightforwardsummaryincludesthat,“Photojournalism imagesarejustfocusedonshort-termaudienceinvolvement,whereasasthenamesuggests, documentaryphotographyimagesarestoredforlong-termstudy.Thephotojournalismimagesare justpublishedinthenewspapers,TVChannels,etc.(69dropsstudios)

III.SocialDocumentaryPhotography

Movingforward,aswecanseethatphotographyisacrucialimplementinraisingawareness. Therearevariouscategorieswecanshiftphotographersandimagesunderaswediscoverthese sub-genres.AsIentermyfinalyearofstudies,Ihavefoundthatbeingaphotographermyself,my imagesfallundersomeofthesecategories,mostspecificallysocialdocumentaryphotography.

Onceagain,wefindourselvescuriousaboutthesesubgenresandtheirdefinitions.Manten photographyshareshisownunderstandingoftheterm,expressing“SocialDocumentary Photographyisasub-genreofDocumentaryPhotography,whichusuallyreferstophotographyasa meanstodocumenthistoricallymajorevents(e.g.,wars,politicalevents).Asaresult,mostpeople usuallyassociateDocumentaryPhotographywithprofessionalphotojournalistsordocumentary makers.”(Manten,2020)Onceagain,itisimportanttoeducateourselveswithwhatissaidtobe thefirstconnectionswiththesesubgenres.Previouslyconsidered“concernedphotography”the worksofJacobRiisandLewisHinecanbeseentofallunderthiscategoryofsocialdocumentary photography.Between1908and1924,HineandRiiswouldrecordtheconditionbeforethereform movementanditseffectivenesstowardsworking-classfamiliesafterbeingintroduced.Atthetime, familieswerestrugglingwithhousingconditions,overallhealth,andeducation,especially children.(LibraryofCongress)WhilstworkingfortheNationalChildLabourCommittee,also knownastheNCLC,HinedocumentedthechildrenofNewYorkandtheirlivingconditions.The LibraryofCongressexplainstheimportanceoftheseimagesbeingdocumentedbystating,"The NCLCphotosareusefulforthestudyoflabour,reformmovements,children,workingclass families,education,publichealth,urbanandruralhousingconditions,industrialandagricultural sites,andotheraspectsofurbanandrurallifeinAmericaintheearlytwentiethcentury.”(Library ofCongress).Furthermore,itisexplainedthatRiis’s,“InnovativeuseofphotographsofNew York’sslumstosubstantiatehiswordsandvividlyexposetherealitiesofsqualidlivingand workingconditionsfacedbytheinhabitants.Harrowingimagesoftenementsandalleywayswhere NewYork’simmigrantcommunitieslived,combinedwithhisevocativestorytelling,were intendedtoengageandinformhisaudienceandexhortthemtoact.Riishelpedsetinmotionan activistlegacylinkingphotojournalismwithreform.”(LibraryofCongress).Fromthisinformation

wecanbegintounderstandthesignificanceofsocialdocumentaryphotographyanditsimpacton history.Likewise,nowadays,therehasbeenahugecontroversyinphotographingthesedisturbing conditions.Manypeoplefeltitwaswrongtoexploitpeopleattheirworst.However,itisargued thatweneedtoexposethistypeofmaterialtothepublictoreceiveareactionthatwillencourage change.Manyphotographersareoftenleftdisturbedbytheirownimages,whichissomething manypeopleforgettoconsider.Thepersonbehindthelenshaswitnessedthistragedyphysically. Riisrespondedtohisbacklashstating,“Iamawriterandanewspaperman,andIonlyyelled abouttheconditionsthatIsaw.Myshareintheworkoftheslumshasbeenthat.Ihavenothada ten-thousandthpartinthefight,butIhavebeeninit.”(LibraryofCongress).WhileRiis’swork focusedontheconditionsthechildrenlivedin,LewisHinetookadifferentapproachby photographingthesechildrenforcedtoworktohelptheirfamilies.Hinedocumentedthechildren workingincoalmines,cottonmillsandpowerhouses.Fromtheseimages,wecanseethatmany childrenworkingaroundthesefactorieswerenoticeablyyoung.(TheGuardian,2018)Itwould laterberevealedthattheseimagestakenbyHinewouldbringattentiontothecountlessnumberof minorsworkingunderage,bringingforwardtheintroductionoftheFairLabourStandardsActin 1938.(TheGuardian,2018)

CottonMillGirl,TheGuardian(2018)

Socialdocumentaryphotographyisusedendlesslyinthemediatoday.Oneexamplethatis unfortunatelyengravedinourmemoryisTheFallingMan,2001byRichardDrew.OnSeptember 11th 2001,ahorrificterroristattackwouldtakeplaceinNewYorkthatwouldleavethenationinan unsettlingstateforyearstocome.2planeswouldbehijackedandploughedintobothtwintowers, causinganunsettlingnumberofdeaths.Asimagesofthedisasterwouldcovernewsheadlines,the imageofthefallingmanwouldleaveusallspeechless.Theimageshowsthemanfallingvertically betweeneachtower,acceptinghisfateofdeathbyleapingfromoneofthebuildings.Inan interviewwithTime,Drewexplainshisthoughtsonthestill,“It’saveryquietphoto,it’snotlikea lotofotherviolentphotographsfromotherdisasters,there'snoblood,there'snoguts,noone gettingshot,butpeoplereacttoitinawaythattheyfeeltheycanrelatetothisphotograph,that theymighthavehadtomakewhateverchoice,themaninthephotographmade.(TIME,2016)The identityofthefallingmantothisdayisstillunknown.

TheFallingMan,Time(2018)

Chapter3

I.TheControversybehindSocialDocumentaryPhotography

AsmentionedpreviouslywiththeexampleofJacobRiis’swork,fordecades,therehasbeen ongoingcontroversysurroundingsocialdocumentaryphotography.Manyphotographershave receivedbacklashfortheirphotographsassometimes,acertainamountofthepublicfeelthe photographerutilisestheimagespurelyforthemselves.Itissignificanttorememberthatanytrue photographerphotographingthistypeofmaterialwillbeusingtheirskillpurelyfortheright intentions,toeducateothersaroundthem.Amorerecentexampleofthiscontroversycanbeseen intheworkofphotojournalistKevinCarter.Associaldocumentaryphotographyaimstodraw attentiontohumanliving/workingconditions,welinkonepieceofhisworkunderthiscategory. TheVultureandtheLittleGirlwerecapturedwhileCarterwasonatriparoundSudan.Theimage

featuresathin,feeblecharacter,restingagainsttheground,inthedistanceonlyacoupleofmetres awayposesavulture.Focusingonthechild,whowaslaterfoundouttobeaboy,asitsnexttarget. “Carefulnottodisturbthebird,hewaitedfortwentyminutesuntilthevulturewascloseenough, positionedhimselfforthebestpossibleimage,andonlythenchasedthevultureaway Atthis point,Carterwasnotyetawarethathehadshotoneofthemostcontroversialphotographs,”(Rhp, 2021)TheimportanceoftheimageishighlightedbytheNewYorkTimes,explaining,“Thisfirst publicationin The New York Times "causedasensation",Marinovichwrote,adding,"Itwasbeing usedinpostersforraisingfundsforaidorganisations.Papersandmagazinesaroundtheworldhad publishedit,andtheimmediatepublicreactionwastosendmoneytoanyhumanitarian organisationthathadanoperationinSudan."(Wikipedia,2023)DespiteCarteronlyreleasingthe phototothepresstoraiseawarenesstotheissue,hesufferedfromanextremeamountofbacklash andhatecommentsfromdoingso.Whenresearchingthestory,‘RareHistoricalPhotos’includesa articleontheimage,withanopencommentsection.Inthecomments,peoplesharetheirown personalopinionsonthephotograph,Onecommenterwrites,“Hewasn'tthatcompassionateifit tookhim20minutestogettheshotbeforeshooingthebirdaway.Buthe'snotthefirst photographertogetthe'money'shotandnotdoanythingtohelpanyone.”Whileanother commenterargues,“He'snotpartofthepeacekeepingforce.Heisaphotographer-bytakingsuch agoodshot-heDIDhelppeople.Hedidhisjob.INCREDIBLYwell.”(Rhp,2021)Carterwould winthePulitzerPrizeforFeaturePhotographyin1994fortheimage,thoughshortlyafter,he wouldunfortunatelycommitsuicide.ThecauseforCarter’sdeathisstillunknown,manysay howeveritmaybelinkedfromthehatehereceivedfromtheimage.(Wikipedia,2023)

TheVultureandtheLittleGirl,Wikipedia(2023)

Throughoutthe90’s,manyartistswereshamedfortheirpracticeasthepublicfeltconsentwas missingfromtheindividualsbeingphotographed.In1990,whilststudyingJournalisminAthens, Ohio,ThereseFrarevolunteeredatthePasterNosterHouse,anAIDShospicelocatedin Columbus.Duringhervolunteering,Frarewouldbefriendthestaffandpatientsatthehospice, mostnotablyPeta,oneofthehospice’scaretakers.Atthetime,PetawascaringforDavidKirby, anAIDSactivist.(Cosgrove,2014)Wheninterviewed,FrareexplainshowitwasindeedDavid’s mumwhohadaskedforthephotographtobetaken,“OnthedayDaviddied,IwasvisitingPeta. SomeofthestaffcameintogetPetasohecouldbewithDavid,andhetookmewithhim.Istayed outsideDavid’sroom,mindingmyownbusiness,whenDavid’smomcameoutandtoldmethat thefamilywantedmetophotographpeoplesayingtheirfinalgoodbyes.Iwentinandstoodquietly inthecorner,barelymoving,watchingandphotographingthescene.AfterwardsIknew,I absolutely knew,thatsomethingtrulyincrediblehadunfoldedinthatroom,rightinfrontofme.” (Cosgrove,2014)Later,shementionsthatshealsoasksthepermissionofDavid,“IaskedDavidif hemindedmetakingpictures,andhesaid,‘That’sfine,aslongasit’snotforpersonalprofit.’To thisdayIdon’ttakeanymoneyforthepicture.ButDavidwasanactivist,andhewantedtogetthe wordoutthereabouthowdevastatingAIDSwastofamiliesandcommunities.Honestly,Ithinkhe wasalotmoreintunewithhowimportantthesephotosmightbecome.”(Cosgrove,2014)Frare

hadnoideathattheimageshetookofDavidthatdaywouldhavesuchasignificantimpactonthe AIDScommunity.Itwasexceedinglyrareforevenaprofessionalphotographertobeallowed accesstosuchanintimatemoment,nevermindastudent.Thoughtheoriginalphotowasinblack andwhite,itwascolourizedandusedinaBenetton'sclothingad.“Individualsandgroupsranging fromRomanCatholics(whofeltthepicturemockedclassicalimageryofMarycradlingChrist afterhiscrucifixion)toAIDSactivists(furiousatwhattheysawascorporateexploitationofdeath inordertosellT-shirts)voicedoutrage.England’shigh-profileAIDScharity,theTerrenceHiggins Trust,calledforabanofthead,labellingitoffensiveandunethical,whilepowerhousefashion magazineslike Elle, Vogue and MarieClaire refusedtorunit.”(Cosgrove,2014)DespiteDavid andhismother'sconsenttotheimagebeingtaken,somepeoplefelttheimagewastoointimateto bepublished,howevertheimagehelpedhundredsofthousandsofpeoplesufferingfromthe disease,encouragingthemtoreachouttotheirfamiliesandaskforsupportintheirfinalyears. Thiswasduetohomosexualitystillbeingverymuchillegalatthetimeandconsideredaforbidden topictospeakabout.(Expertphotography,2023)

Itwasstartingtobecomeinevitablethathatewouldbereceivedbyanyoftheseseenas “controversial”images.NanGoldin,aworld-famousphotographer,wasbestknownforher documentationoftaboosubjectstosociety Thisincludedsexworkers,theLGBTQ+community andmuchlikeFrare,AIDSpatients.Nan’sworkwasseenasrawandunfiltered,shewouldoften useherselfasherownmuse,documentingthetroublesshefacedthroughphotography.Nanmoved toNewYorkinthe1970s,atthepeakofpoliticalrebellion.Hergoalwastodestigmatizesex work,druguseandabusewithinherportraits.(Tate)From1993-1996,Nantook89self-portraits throughouttheyears,recordingherself.Shelaterexhibitedtheimagesthroughaslideshow, namingthepiece,“AllbyMyself.”(Bunyan,2011)InaninterviewwithNeonwhenpromotingher film‘Allthebeautyandtheblood’,Nanexpressedthatmanymenandgalleriestoldher,“This isn’tphotography,noonephotographstheirownlife,”(Neon,2022)Throughouttheimagesshown inthisexhibition,therearenumerousphotosofNanshownwithherfacebruised,cut,andbashed.

Duringthisperiod,Nanwasinanabusiverelationshipwithherformerpartner,whomshestayed withdespitebeingmistreated.Oneimageinparticularstandsoutagainsttherest,“NanOneMonth AfterBeingBattered1994”.Inthepicture,Goldin’seyesbothhavebruisesunderthem,herright onewithacutunderneathandherlefteyeburst,makingthewhiteofhereyeredwithblood.

Despiteherbatteredstate,Goldinstilltriestomakeaneffortwiththerestofherappearance,she wearsherdanglyearringsandpearls,partneredwithredlipstick.(ExpertPhotography,2023)The imageholdssomuchpoweras,“inanimagelikethis,webridgethegapbetweenphotographic evidenceandabeautifulportraitofanoutgoingwoman.”(ExpertPhotography,2023)When questionedaboutwhyshetooksuchgraphicimagesofherself,sheexplainedthattheywereto remindherofwhysheshouldnotreturntotherelationship.Shewantedtomakepeoplefeellike

theycouldspeakabouttheirownabusewithoutbeingshamed.(Chiriguayo,2022)When promotingGoldin’sfilm,‘Allthebeautyandtheblood’directorLauraPoitrasexpressesthat, “Societyisverysuccessfulatplacingshame onpeoplewhoarestruggling,andyettheshame belongssomeplaceelse,”(Chiriguayo,2022)Goldin,whohasrecentlyturned70,stilltothisday takesphotos.Recently,shehasbeenpartofacampaigntoremovetheSacklerfamilynamefrom popularmuseumsworldwide.ThisisduetoGoldinforminganaddictiverelationshipwiththe medicationshewasprescribedforabrokenwrist.TheSacklerfamily,ownersofPurduePharma, havemadebillionsofdollarsfromprescribingthehighlyaddictivedrug,Oxycontin,causing hundredsofthousandsofinnocentpeopletobecomedependentonthedrugforday-to-dayliving. (Chiriguayo,2022)Thefamilywereprofitingfrompeople'spainandGoldinwantedittoend. Goldin’sphotographywouldbeclassedassomeofthemostcontroversialintheworld,however byusingherself,friendsandfamilyassubjectstoshowthatitwasnormaltogothroughhardships, andnormalforthosearoundyoutogothroughthemtoo.Goldinwouldtranslatethroughimages thatsocietywaswrongforshamingthesetopics,hernamewouldgodowninsocialdocumentary photographyhistoryforyearstocome.

Nanonemonthafterbeingbattered,ExpertPhotography(2023)

WhileGoldin’sworkfocusedonpersonalissues,StephenWillats,avisualartistfromtheUK,used hispracticetoshinelightonsocialissues.Inthe1970s,Willatsusedsocialdocumentary photographytosupporthisartwork.Willatsinterviewedpeopleandscrutinisedtheirliving conditions,especiallythosewholivedinprecariousconditions.Thisstandardoflivingcondition wascommonlyfoundincouncilestates.(Scheller,2019)OneofWillatsprojects,“Livingwith PracticalRealities1978”focusedononeofthetenants,Mrs.Moran,anelderlywomanwholived inaBritishhighriseflat.AfterMrs.MoranallowedWillatstolethimuseherasthesubjectofhis work,hebeganinterviewinganddocumentingherlivingconditionsformanymonths."Inhis composition,Willatshighlightsthephysical,socialandeconomicconstraintsthatshefaced.Each panelalsofeaturesaquestion.”(Tate,2023)Withintheproject,WillatsplacesanimageofMrs. Moranatthetopofthepagewithaheartbreakingstatementofherreality.Onethatindicatessigns oflonelinessstates,‘LivingwithoutthecertaintythatIwillseesomeonetomorrow.’Underneath thisisanimageofthetowerblockshelivesin,inHayes,WestLondon.Belowtheimageofthe highrise,Mrs.Moranispicturedinthecourtofthebuilding,showinghersmallscalecomparedto thestructurearoundher.Surroundingthesephotographsareimagesofthearea,detailsofthetower blockandinteriorshotsofherhome.Eachimagehastextacrossit,includingastrugglewhich

Mrs.Moranmayfacedaily,onestating,‘Ineverfeelsafegoingoutaftertheschoolsfinish.’(Tate 2023)Thework’slayoutissomewhatlikeapoliceinvestigationboard,thephotographslinkedto questions/answerswithsolidblacklines.Thefullprojectismonochromatic,thisensuresthetopic oftheartremainsserious.Theproject'sintentionwastoshowtheupsettingtruththatelderly peoplefacedlivinginthesehuge,isolatingtowerblocks.Nonetheless,Willatsimageswithinthe projectwouldlaterbeaccusedas‘PovertyPorn’bythepublicashewasawealthy,middleclass manhimself.

Fromthepreviousparagraph,manyofusmayaskourselves,whatispovertyporn?‘Povertyporn’ isdefinedas“anytypeofmedia–written,photographed,orfilmed,thatexploitsorfetishizes povertytogarnersympathyorsupportforacause.Thesetypesofmediaarecirculatedtopromote

anemotionalresponseoftheviewersandareoftenlacedwithfinancialgainsthroughdonationsfor the‘cause.’Povertypornperpetuatesacertainnarrativeandstereotypeofwhatpovertyshould looklike.”(Mascovich,2017)Theterminitiallysparkedrecognitionin2014,afterchannel4 releasedaseriescalled‘BenefitsStreet.’Aprogrammewhichrecordedinsightsintothetroubles facedbythoselivingonthedole.(Gilholy,2020)Withinsocialdocumentaryphotography,many artistshavebeenaccusedofpovertypornwithintheirimages,asIgoontoexplain,sometimesthis assumptionisnotusedforabadintention,buttoevokefeelings.AsIexpressedinmyown researchreportbackin2023,onemainconcernregardingtheuseofpovertypornisthatit objectifiesasubjectandtakesadvantageoftheirsufferingtotriggeraresponse,usuallypityor sadness.Objectificationisaresultofthesubjectbeingportrayedinadehumanisingand undignifiedway Despitewell-meaningintentionsofraisingawarenessandfunds,theseimages ultimatelyshameanddemeanthelifestyleofthosewhoareaffected.(Roenigk,2014)However,as argued,itiswrongforustoassumethatthoseinthesetroubledstatesareunabletoescapethe povertytheyface.Thisfeedsintothe‘whitesaviour’complexinphilanthropy,where“developing nationsareseenasthesaviourtodevelopingnations.”(SSAP,2020).Furthermore,itisbestto reviewbothsidesoftheargument.Povertyporncanbringattentiontosocialissuesandprompt change.Ontheotherhand,thenegativesideofthetopicincludesassumptionstowardsvoyeuristic gratification.Povertyporncanleadtostereotypingitssubjectintobelievingtheirsituationis self-inflicted.AsexpressedbyGeorgiaGilholyinanarticleabouta‘pandemicofpovertyporn,’, sheexplainsthat,“Youcouldarguethatitwouldbeequallywrongtoerasethestoriesof low-incomeandwelfare-dependentcommunitiesfromthemedia.Certainlythesestoriesshould notbetakenoutofthepicture.Buttheyoughttobetoldwithsomeperspectiveandempathy.” (Gilholy,2020)Ultimately,asrepeatedthroughoutthisdissertation,itisclearthatsocial

documentaryphotographybringsattentiontoanddemandschangeofstigmatisationtothose experiencingthesesocialindifferences.

Throughmyownexperienceasanartistwhofocusesonsocialdocumentaryphotography,Ifeelas longastherightintentionsarethere,andconsentisgivenfromthesubjectsbeingphotographed, thereshouldbenoneedforshametowardsthephotographers.Asapersonalexperienceofmy own,whenouttakingreferenceimagesofbuildingsforanewproject,Iwasapproachedbyaman namedStephen.Stephenwasinhisearly50s,wesharedaconversationoverourloveforart.

However,Stephendidn’tgetthechancetopursuehishobbyatuniversitylikeIdid.Before leaving,StephenaskedifIwouldtakehisphotograph,whileIpreparedmycamera,hesaid,‘I don'tsmile,butIwillforthis,’.Oncetheimageshadbeendeveloped,Ikeptmypromiseand returnedtheimagestoStephen.Afterseeinghisjoyfromthephotographs,weagreedthatwe wouldcollaborateinaprojecttogether,showingtwodifferentgenerationssharingthesameinerest, thatwouldbelaterexhibitedatmydegreeshowin2024.

‘Stephen’(Wright,2023)

Inconclusion,itisinevitablethatpeoplewillvoicetheiropinionsonwhattheyconsidertobe appropriateforpublicviewingwhenthetopicisbelievedtobesensitivecontent.Thisessayhas showntheimportanceofsocialdocumentaryphotographybyprovidingexamplesofhonesthuman experiencesthroughimages.Throughabriefdiscussionofthehistoryofphotography,anda deeperdiveintophotojournalismanddocumentaryphotography,wecanseethesewere considerablefactorsinleadinguptosocialdocumentaryphotographybecomingacrucialtoolfor socialchange.Finallywelookatthecriticismsofsocialdocumentaryphotography,andtheharm ofpotentiallyexploitingormisinterpretingthesubject.Photographers,suchastheaforementioned Willats,areoftenmiddleclassorprivilegedandexploitfortheirownfinancialgain.However,I findtheargumentsupportingtheuseofsocialdocumentaryphotographymoreconvincing.Many photographersmakenofinancialgainfromtheirimages,suchasThereseFrare’s‘Thefaceof AIDS’.Bycapturingpeople’sexperiencesthroughphotographs,viewersgainawareness,anda reactionisprovoked.Furtherresearch,includingaskingmoreofthesubjectsofsocial documentaryphotographyhowtheyfeelcouldsupportthisconclusionfurther.Inparticular, findingoutwhetherornotthesubjectsfeeltheycouldbenefitfromexposingtheirtroubles,togain empathyfromtheviewer,and/or beprovidedwithsolutionstotackletheissuestheyface.

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