Category Archives: Project 3 : A postmodern documentary

Part 1:Exercise. A decisive moment ?


Part 1.

Read Simon Bainbridge’s article on the 2011 Hereford Photography Festival . Select one of the bodies of work in the article and write a 200 word reflective commentary in your learning log.

I have decided to look at the work of Vanessa Winship.

Georgia .Vanessa Winship

Winship is a British documentary photographer who travels and works with her husband , George Georgiou. Despite working in close proximity each has a distinct and differing approach. Using a large format camera , black and white film and available light I think her portrait images are sensuous, empathetic and considered. I love portraiture , this drew me to look further at her work. Although aware of her photography I have never really taken a good look or studied it carefully , having done so I like it very much.

This series of work combines landscape , some of which is quite abstract , alongside portraits of the lands inhabitants. The stories and histories of a land inevitably moulds and influences its residents and I think this is what she is trying to convey , a merging of people and place . I particularly like one image that exemplifies this fusion , a ‘happy accident’ when she inadvertantly double exposed a frame. The fading young dancers form an integral component of their environment .

See link below to look at the image

However its her portraiture that captivates me .These are unpretentious images of what many would consider unremarkable subjects but who more than justify her slow contemplative approach.They look directly out of the frame towards the viewer , intense ,sometimes solemn , but never unremarkable.


Bainbridge , S. 2013. The Long Road. British Journal of Photography , July 2013 Issue pp.48-73

Houghton, M . 2014. The Prose Of Photography. Black+White Photography , Issue 160 pp. 8–16

Part 2.

Next , listen to Jon Levy , founder of Foto8 , talking about documentary in the art gallery . Note down your reactions to Levy’s comments.

Levy discusses the function of the art galley to showcase photojournalism. By presenting documentary photography in an art based environment the images will attract a larger and more diverse audience. The difference between art and documentary photography has become less easy to define , the genres frequently overlap . Hence it is perfectly acceptable to present documentary work as art and vice versa. Additionally there may be financial benefits enabling the documentarist to pursue further projects.

However the personal intent of an individual photographer needs to be explicit , what  why and how ,  and should be declared  from the outset , not added as an afterthought . Furthermore if the images are to be specifically aimed at an elite audience this goes against the principle of photojournalism -the communication associated with documentary photography is lost.


The myth of objectivity


The following quote from Andre Bazin exemplifies a historical belief in the objective authority of the photographic image:

For the first time , between the originating object and its reproduction there intervenes only the  instrumentality of a non-living agent. For the first time an image of the world is formed automatically , without the creative intervention of man…in spite of any objections our critical spirit may offer , we are forced to accept as real the existence of the object reproduced , actually represented
(Andre Bazin ,’The Ontology of the Photographic Image’ in What is Cinema? 1945 p.7 ) 

“If we accept the fundamental premise that information is the outcome of a culturally determined relationship , then we can no longer ascribe an intrinsic or universal meaning to the photographic image”
(Allan Sekula , ‘On the Invention of Photographic Meaning’ , 1997, p.454 )

Write a 250 word reflective commentary on the above quotes by Andre Bazin and Allan Sekula. Briefly compare their reflective positions and record your own view on the issue of photographic objectivity.

Bazin states emphatically that photographic images cannot help but be inherently objective , with no input from the photographer, whilst Sekula declares that cultural influences consequently mean they are inevitably subjective. What initially struck me was that over fifty years separates the two quotes and time irrevocably influences theoretical thought , hence some consideration must be given to this.

By the mid1930’s world change caused by war and economic depression meant photographers “valued immediacy and looked continually for affecting pictures of man under stress” (Jeffrey, 1981,pg.186). I feel Bazin’s beliefs belong to a past era , when “social documentary photography was animated by the idea that images could precipitate social change”  (Warner Marien, 2010, pg. 416) . In contrast Sekula was part of group of like-minded individuals (including Martha Rosler) , post-modernists who rejected established documentary methods. By the 1970’s there was a movement towards more individual , hence what are considered more subjective, interpretations.

I disagree with Bazin , even before the shutter is closed the photographer alone chooses the viewpoint , what to include/exclude. These are subjective not mechanical decisions , and influential to the final outcome.  Choice of lens ,processing , even what light to shoot in , are based on individual choices and preferences. Like Sekula I also feel cultural ,racial, and personal histories are predominant factors . Furthermore the aim of taking an image is generally to show something , the intent , especially true of documentary photography , will always influence how  something is recorded.

I am currently reading Isabel Allende’s book My Invented Country and this quote seems so relevant “Who can define reality? Isn’t everything subjective ? If you and I witness the same event , we will recall it and recount it differently” (Allende Isabel , 2014 p.g 179) . The same might be said of photography , each image conceptualised and influenced by personal mores.

Bibliography / References

Allende Isabel , (2014 ) My Invented Country ,EPub Edition, Harper Collins , London , UK

Jeffrey Ian , (1981) . Photography A Concise History , Thames & Hudson , London , UK

Warner Marien Mary . (2010 ) Photography:A Cultual History Third edition, Laurence King , London, UK