The Lens is a Portal– The Narrative Power of Photography
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“To collect photographs is to collect the world.”
Susan Sontag wrote these words in her 1973 compilation of essays, On Photography. This concept encapsulates the essence of photography: capturing moments that transport us beyond our immediate reality. Photography has metamorphosed into both an artistic medium and a potent vehicle for connection and storytelling throughout the ages. A single photograph possesses the potential to evoke empathy, spark curiosity, or challenge preconceptions. In the same essay from On Photography, "In Plato’s Cave," Sontag expounds:
“Photographs, which fiddle with the scale of the world, themselves get reduced, blown up, cropped, retouched, doctored, tricked out. They age, plagued by the usual ills of paper objects; they disappear; they become valuable, and get bought and sold; they are reproduced. Photographs, which package the world, seem to invite packaging. They are stuck in albums, framed and set on tables, tacked on walls, projected as slides. Newspapers and magazines feature them; cops alphabetize them; museums exhibit them; publishers compile them,” (Sontag, 1973).
How can images do this without a word? Through technical expertise, the use of genre and style, meticulous planning, seamless execution, post-production editing, and more, photographers breathe life into their subjects, crafting a universe for viewers to explore. The lens is a portal that can take us to places beyond wildest imagination, ground us in the realities of our world, and bring us back to our fondest memories.
A Brief History of Photography
The word "photography" finds its roots in the Greek words phos, signifying "light," and graphê, meaning "draw" or "write." Together, these terms coalesce into the phrase "light drawing," aptly characterizing what early photographers, scientists, and inventors, including Sir John Herschel, envisioned when he coined the term in 1839 (Young, 2017).
“In the 19th century, photographs were perceived as objects, as visual versions of the object photographed, and were therefore considered as absolute truths. The first photographs were called ‘views of nature’ and being created by sunlight also made them part of nature,” (Boogh, 2013).
Early drawing of the camera obscura
The 19th century saw the dawn of the camera and innovations like the daguerreotype. However, its predecessor, the camera obscura, with roots dating back to the Renaissance and theorized by Chinese philosopher Mozi (470-390 BCE), played a pivotal role in inspiring artists long before the advent of photography (Taggart, 2022).
The first photograph, captured by Nicéphore Niépce in 1827, employed a camera obscura and a polished pewter plate exposed to bright sunlight for eight hours. Subsequently, Louis Daguerre refined Niépce's method with the daguerreotype, marking the first camera iteration. Concurrently, Henry Fox introduced the calotype, a distinct process requiring less exposure time and introducing the photo negative (Taggart, 2022). This convergence of historical milestones not only traces the evolution of photography but also underscores the dynamic interplay between artistic vision, technological ingenuity, and the enduring quest to capture the essence of light itself.
In its early years, photography served primarily as a tool for portraiture and scientific documentation. Initially, it did not garner recognition as a legitimate art form, and both critics and artists often dismissed it, apprehensive that it might eventually overshadow painting. This sentiment was expressed in 1901 by Henrietta Clopath, who noted, “The fear has sometimes been expressed that photography would in time entirely supersede the art of painting. Some people seem to think that when the process of taking photographs in colors has been perfected and made common enough, the painter will have nothing more to do,” (Clopath, 1901).
Artists like Alfred Stieglitz demonstrated photography’s strength as a medium for expression and storytelling in the same vein as other forms of visual art. From his photographs of landscapes and streets to his most notable portrait series of his wife, painter Georgia O’Keefe, Stieglitz proved that photography was more than a slice of life, but also encompassed emotional depth, human connection, and technical prowess.
Meanwhile, botanists utilized cyanotypes, a process pioneered by astronomer and chemist Sir John Herschel. This method involved "light-sensitive paper that recorded images against a blue background," (Cohen, 2018). Scientists like Anna Atkins employed cyanotypes to document various algae specimens.
As technology advanced, photography became more accessible. In 1888, George Eastman founded Kodak and introduced the first commercial box camera with the slogan: "You press the button, we do the rest." The prominence of film photography followed the next year, and in 1936, Kodak introduced color photography with Kodachrome. Other camera companies, such as Leica (establishing the lightweight 35mm camera in 1925) and Polaroid (introducing the first instant camera around the same time), contributed to the evolution.
With cameras becoming more versatile and affordable, it became inevitable for everyday people, journalists, and artists alike to carry personal cameras, marking a democratization of photography.
However, as time passed and technology advanced, photography became more accessible.
Photography’s Visual Language
The technical components that construct a photograph are what paints the visual story of photography. There are multiple factors to consider, such as composition and framing, lighting and mood, and finally the subject and the narrative structure.
For example, in composition and framing, the rule of thirds and leading lines serve as guides for photographers seeking to craft visually arresting images: the rule of thirds and the use of leading lines. The rule of thirds dictates that an image should be divided into nine equal parts using two horizontal and two vertical lines, resulting in a grid. By strategically placing key elements along these lines or at their intersections, photographers can create a balanced and visually engaging composition. This principle encourages a departure from center-focused subjects, fostering a dynamic and aesthetically pleasing arrangement.
"After the point, the line is the most basic visual element. It is fundamental to human experience. The first thing you drew as a child was a line. The first thing any human drew was a line. It is the basis of all alphabets. Just think of all the expressions that indicate how important the line is to our everyday experience: "Get in line".... "Toe the line".... "Walk the line"... "Don't cross the line." (Suler, 2013).
Furthermore, creating an atmosphere or mood through lighting is another key facet of photography. Knowing when and how to use natural versus artificial light is an important skill in a photographer’s arsenal. The interplay of light and shadow adds depth and dimension, casting a transformative spell upon the subject. The photographer's mastery lies in harnessing natural or artificial light to evoke the desired atmosphere, be it dramatic and moody or soft and ethereal.
Finally, the subject and the narrative structure converge to breathe life into the photograph. The subject serves as the focal point, the anchor around which the narrative unfolds. Whether capturing a fleeting moment or telling a more complex story, the photographer must wield a discerning eye to encapsulate the essence of the subject within the frame. Meanwhile, the narrative structure, often driven by the photographer's intent, weaves a cohesive thread that ties together the various elements, transforming the image into a story.
The Role of the Photographer
Photographers shoulder a considerable responsibility in effectively communicating visual stories. While the previously mentioned technical aspects form a crucial foundation for visual storytelling, they represent only a segment of the broader framework. A comprehensive approach demands photographers to delve into aspects such as narrative structure, understanding the purpose of their subjects, considering the target audience, and navigating ethical considerations.
In his work "Essentials of Visual Communication," Bo Bergstrom delineates three distinct storytelling techniques, offering valuable insights for photographers seeking to convey their messages through visuals. The first technique, dramatic storytelling, hinges on creating a strong identification with the audience, immersing them deeply in the unfolding action. At its core lies conflict or a shift in equilibrium, driving engagement and emotional resonance.
Conversely, the non-dramatic technique relies on significant participation and interaction from the audience, prompting them to actively weave together the narrative. Personal reflections and values become integral building blocks in this approach, fostering a more participatory and immersive storytelling experience.
The third technique, interactive storytelling, strikes a balance between the previous two and caters to online audiences. It combines elements of openness and closure, allowing for deep interaction and involvement on the part of the audience. This approach acknowledges the evolving nature of storytelling in the digital age, where engagement and participation play pivotal roles in the narrative construction, (Bergstrom, 2008).
Understanding and identifying these three modes of storytelling provide photographers with valuable tools to enhance their ability to convey messages through visuals. By aligning their approach with the chosen technique, photographers can elevate their storytelling, develop stronger connections with their audience and instill depth and meaning within their images.
While planning and executing a photograph, it is imperative that photographers understand not only their subject’s role in the story but also their own. In a video for Reuters, Damir Sagolj outlines several “tips” in photojournalism that apply to the wider scope of photographers as well: anticipate, research, reach out, prioritize, practice, interact, and be invisible. These terms can be condensed into three steps: preparation, observation, and participation.
Photographers might feel as if they are on the fringe of their subject’s experience, but their mere presence can impact the DNA of a photograph. From the way a photographer chooses to compose their image to their understanding of the story and subject at hand and also how they are perceived by their subjects. It is a delicate balance that takes a great deal of practice. In Camera Lucida: Reflections on Photography, Roland Barthes explains:
“No doubt it is metaphorically that I derive my existence from the photographer. But though this dependence is an imaginary one (and from the purest image-repertoire), I experience it with the anguish of an uncertain filiation: an image–my image–will be generated: will I be born from an antipathetic individual or from a ‘good sort’?” (Barthes, 1993).
Regardless of one's efforts to remain "invisible," the presence of the camera is palpable, and photographers must be mindful of this impact when shaping the narrative they aim to convey.
Another integral aspect of the narrative in photography unfolds in the post-production phase: editing and arrangement. Depending on their objectives, photographers may employ post-production techniques like color correction or photo manipulation to achieve their envisioned outcome. In the context of creating series, such as photo essays, photographers must also consider the sequence and arrangement of images, strategically positioning them to weave a cohesive and compelling visual story.
Genres of Photography and their Narrative Potential
Fine Art Photography
The use of photography in an attempt to illicit emotions, communicate an idea, or achieve an aesthetic are all hallmarks of fine art photography.
Early adaptors like Man Ray stand out as trailblazers who flipped the hyper-realistic nature of the medium on its head. Man Ray's surrealist photographs, exemplified by works such as Glass Tears from 1932, transcend traditional conventions. This particular image, marked by its highly orchestrated and stylized composition, exudes a cinematic quality reminiscent of a carefully crafted film still. It invites the viewer to delve into their own interpretations, fostering an engagement that transforms the audience into an active participant in the narrative. The deliberate air of mystery within the frame invites exploration, compelling the audience to become integral contributors to the unfolding story.
Similarly, the artist Cindy Sherman emerges as another influential figure adept at weaving the audience's perspective into her photographs. Known for her transformative self-portraits, Sherman possesses a unique gift for prompting viewers to contemplate their own preconceptions and societal constructs. The artist once said,
“I am trying to make other people recognize something of themselves rather than me.”
Through her lens, she challenges conventional notions of identity and representation, inviting the audience to question their assumptions and embark on a nuanced exploration of the complex interplay between subjectivity and perception.
Other artists like William Eggleston and Nan Goldin find inspiration in the everyday through different executions.
Eggleston’s then-novel use color photography, is known for his ability to transform the seemingly banal elements of everyday life into visually arresting compositions. His keen eye captures the vibrancy of ordinary scenes, elevating the commonplace to the extraordinary. Through his lens, a simple snapshot of a gas station or a diner becomes a testament to the beauty embedded in the everyday, prompting viewers to reconsider their surrounding environment and find poetry in the overlooked, smaller details.
On the other hand, Nan Goldin delves into the realm of personal and intimate narratives. Her work often revolves around the documentation of her own life and those around her, creating an intimate visual diary that resonates with authenticity. Goldin's candid and unfiltered approach to capturing everyday moments, often conveying relationships and subcultures, unveils the raw emotions and complexities that define life itself
Creative Editorial
The transformative power of photography is also evident in the world of creative editorials and fashion photography, where images are similarly orchestrated in composition, designed to convey a specific concept or story. Whether it's the cover of a magazine, a feature spread, or an online editorial, these images serve as visual essays that engage the audience intellectually and emotionally.
Hunter Schafer for PAPER Magazine
Pioneers in the realm of fashion photography, such as Richard Avedon and Annie Leibovitz, have played instrumental roles in shaping the aesthetic and storytelling potential of this genre. Avedon, renowned for his iconic portraits and editorial work, brought a distinctive clarity and dynamism to the fashion world, infusing it with a sense of narrative gravitas. Leibovitz, on the other hand, is celebrated for her ability to capture both the vulnerability and strength of her subjects, transcending mere fashion documentation to create visually compelling stories.
The influence of these photographers is seen today as well with the addition of digital art and editing. Creative directors, photographers, and publications now wield a digital palette to enhance, manipulate, and elevate their images, pushing the boundaries of what is visually possible. This evolution not only amplifies the storytelling potential but also underscores the versatility of visual narratives.
Photojournalism
Cameras, with their unique visual language offer a kaleidoscope of perspectives on life. They're not just devices capturing moments; they're windows into different worlds fostering understanding in infinite ways. In the hands of photojournalists, this concept comes to life–wielding their cameras to document history, confront society with the truth of issues and events. Their power is provoking thought, eliciting emotions, and, most importantly, initiating dialogue. James Nachtwey, a luminary of photojournalism renowned for his haunting depictions of war, conflict, and disaster, encapsulates this power with his poignant statement:
"I have been a witness, and these pictures are my testimony. The events I have recorded should not be forgotten and must not be repeated."
In these words, Nachtwey captures the solemn responsibility of the photojournalist—to serve as a witness to history and, through their visual narratives, compel society to confront uncomfortable truths.
Nachtwey's documentation of harrowing moments in history is a visceral reminder that the capabilities of photojournalism venture beyond its ability to freeze a moment in time but also in its potential to jolt us into a collective awareness of the harsh realities shaping our world. The act of bearing witness, central to the photojournalistic experience, transforms the viewer into an active participant, urging them to grapple with the gravity of the captured scenes and consider the broader implications.
Photojournalism, in its unique ability to force viewers to witness, becomes a potent catalyst for change. By presenting the raw, unfiltered truth, photojournalists contribute to a shared understanding of the world's complexities, fostering empathy and, ultimately, inspiring individuals and communities to take action toward a more just and compassionate future. In this way, the impact of photojournalism extends far beyond the individual frame, creating ripples that resonate through society, challenging preconceptions, and inviting conversations that can shape a collective response to the challenges we face.
This awareness also gives rise to ethical considerations, as illustrated by Steve McCurry's iconic 1985 National Geographic portrait featuring eleven-year-old Sharbat Gula, known as the "Afghan Girl." The caption suggested that her striking eyes "reflect[ed] the fear of war." However, Gula later disclosed that she felt fear during the photo session, as the photographer entered an all-girls school to capture the image. Unaccustomed to the presence of men and unfamiliar with the process of being photographed, she remained unaware of her international fame until adulthood. Gula shared her perspective:
"I became very surprised [because] I didn't like media and taking photos from childhood. At first, I was concerned about the publicity of my photo, but when I found out that I have been the cause of support/help for many people/refugees, then I became happy," (BBC, 2017).
While this particular story had a somewhat positive outcome, it serves as an example of photographers overstepping boundaries in their pursuit of the desired "moment," inadvertently misguiding audiences and obscuring the truth of their subjects.
Documentary Photography
Through the lens of dedicated photographers, documentary photography projects unfold like visual chronicles, allowing the nuances and overall evolution of their subjects to be captured over time. This allows for a more comprehensive understanding of the issues at hand, providing a multi-faceted portrayal.
One of the paramount impacts of documentary photography is its ability to shed light on pressing social issues. By capturing and presenting authentic images, photographers become storytellers, advocates, and witnesses to the human condition.
Gordon Parks' iconic 1943 photo essay, "Harlem Gang Leader," stands as a testament to the transformative potential of documentary photography. In this poignant series, Parks delved into the raw, vulnerable moments of a young black teenager navigating a world marked by hardship and violence. The images capture the essence of the human experience, providing an unflinching portrayal of a community facing societal misunderstandings and suppression. Parks, through his lens, not only documented the struggles but also conveyed the resilience, strength, and dignity of his subjects.
The Digital Age
Today’s landscape of photography has been significantly reshaped by the burgeoning influence of social media, marking a compelling point in its evolutionary journey. Camera phones and user-friendly editing software is everywhere and easily accessible, which has democratized the art form, empowering anyone and everyone to assume the role of a photographer, capturing moments and sharing them with a global audience. This democratization, however, introduces a new layer of complexity as photography meets the era of influencers and content creators, emerging as the default mode of communication for creatives.
“In the past, knowing how to set up a light was pretty much all you needed to know. In this day and age, everyone can learn to do this…These days it is all about the aesthetic. The difficulty now is to come up with a visual language that is authentic and true to you, while also modern and reflective of the trends. On top of all this, you need to be more of a content creator rather than a photographer,” (Ovchar, 2023).
There is also the predicament of AI to consider. While AI offers infinite possibilities in image enhancement, manipulation, and generation, it also poses ethical issues in terms of authenticity and authorship. Just as painters and sculptors feared the idea of photography replacing art, now we find ourselves in a similar place. A 2018 Artsy article, details the thoughts of Alex Savsunenko, head of Skylum AI Lab:
“Savsunenko also believes that a computer will never truly understand the human experience, and thus, “it will never create a masterpiece.” He pointed to the famous photograph from Alfred Eisenstaedt, VJ Day Kiss in Times Square (1945). A computer may be able to judge composition and lighting, but it takes a rich historical context and emotional understanding to comprehend how people felt on the day that World War II came to an end,” (Palumbo, 2018).
Infinite Ways of Seeing
Images are not just frozen moments. They are powerful stories that travel and resonate across time. Photography's strength lies in the worlds we build within the frame. It has an immense ability to distill complex emotions, cultural nuances, and societal shifts into a visual language that transcends barriers.
The images we create are unique pieces of a larger narrative contributing to the rich tapestry of our shared experience. The picture, whether it's in the viewfinder or the frame, becomes the star on a stage. Subjects, gestures, and expressions become silent characters in our stories, and we invite others to share the experience with us when we print, publish, and share. Through the lens, we gain access to worlds unknown, bridging gaps in understanding and fostering a deeper connection with the vast spectrum of human existence.
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