We hope that Part One has demonstrated to you that each photograph is a ‘point
of view’ that depends on the time it was taken, the person who took it (no matter
how objective they try to be) and the things outside the frame, unknown to the
viewer, which may add or take away from what’s revealed in the frame. In this
sense every photograph, regardless of its visual accuracy, is a manipulation of
reality.
A photograph cannot tell the whole story and is therefore part of a wider
narrative. This is an important point that is often overlooked in the dissemination
of news and facts in media and popular culture. Although photography has
played an important role in providing information, for example in
photojournalism and historical archives, we must take its context into
consideration in order to fully understand the whole story. Now that you’ve
reached the end of Part One, reflect on what you’ve learned in your learning log
or blog.

● What was your idea of documentary photography before you worked on
Part One? How would you now sum it up?

My idea of documentary photography before the start of this unit was that I could trust what I was shown in a series of photographs and engage in the accompanying narrative so I am better informed having engaged with the work.

After the first unit of this course I am learning that images can be presented in different ways to present instead a “version of the truth”. The image may be genuine but editing out certain images from a series, excluding or including certain components within an image and the context in which the images end up i.e certain tabloid newspapers vs a museum or National Geographic can drastically change the meaning of documentary. There were also examples in the coursework of The Farm Security Administration (1935 to 44) who were set up to look after the welfare of the farmers after the great depression in USA. Dorothea Lange produced some iconic images such as Migrant Mother. It was a known fact that photographers were sent out with specific instructions about what images to take and in what setting and certain facial expressions captured etc. So even nearly 100 years ago a version of the truth was being portrayed.

I also understand the nature of producing documentary photos has changes with the onset of mobile phone photography and social media. The cost of soliciting several people to take more “realistic” snapshot style images in an eyewitness style can come across as more genuine and credible but is also cheaper than paying a professional photographer to travel to a certain part of the world to shoot a particular event. Timing is also a factor in this style of photography.

Today the more traditional human suffering images have been replaced by something that is more eye catching such as Gideon Mendel’s work “Dzhangal” meaning “this is the forest” – a meaning for the Jungle, the refugee camp in Calais. He produced work of the objects left behind in the camp such as a collection of toothbrushes and a text book. Perhaps a method to differentiate himself and/or combat “compassion fatigue”

● What are the differences between documentary, reportage,
photojournalism and art photography?

Documentary photography usually refers to a popular form of photography used to chronicle events or environments both significant and relevant to history and historical events as well as everyday life.

Reportage : The reporting of news, especially by an eyewitness. News or information of general interest that has been reported; media coverage of a topic or event.

Photojournalism differs from other forms of photography (e.g. documentary photography, street photography or celebrity photography) by its need to remain honest and impartial.

Art Photography a medium for creative expression. The goal of fine-art photography is to express an idea, a message, or an emotion.