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  • description24th March 1975; Clive Limpkin on the panel during the 'Photography on the Curriculum' seminar. His book Battle of the Bogside documenting the troubles in War & Conflict won the 1972 Robert Capa Gold medal. Photo by Mike Goldwater
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    • subtitle24th March 1975; Clive Limpkin on the panel during the 'Photography on the Curriculum' seminar. His book Battle of the Bogside documenting the troubles in War & Conflict won the 1972 Robert Capa Gold medal. Photo by Mike Goldwater
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      • nameMedia Theory
      • essay_titleCritical engagements with documentary photography
      • essay_authorFrances Whorrall-Cambell
      • essay_extract<p>The subheading to <em>Camerawork </em>8, a special issue on the ‘Battle of Lewisham’, proclaims: ‘What are you taking pictures for?’. <em>Why photograph?</em> was a central concern of Half Moon Photography Workshop. In many ways the ‘why’ was easy to answer (although, as this issue showed, the reasons were many): what was more difficult was the issue of who - who could be a photographer, and what being a photographer meant. </p>
      • essay_content<p>In order to answer these questions, HMPW framed a radical reinvention of the medium and its practitioners, advancing a new concept of ‘community photography’. This was first outlined by Jo Spence in <em>Camerawork</em> 1 and elaborated on in Issue 13, which was dedicated to ‘Photography in the Community’. What Spence discusses in this first issue is a three-pronged attack on the mechanisms of mainstream image production and circulation in Britain. </p> <p><meta charset="utf-8" /></p> <p style="text-align: justify;">The first weapon in this war was alternative or community presses, which offered photographers control over the fruits of their labour. Such publications could show solidarity and promote community action, providing an antidote to the individualism and sensationalism of traditional journalism. </p> <p style="text-align: justify;">The power was in having control over the means of image production: Spence recommends the use of photography as a tool by social activists. Through workshops and equipment loans, groups could encourage community feeling and help marginalised people represent themselves - gaining the skills to be critical of images and demand different depictions. Those who attended these workshops then became community documentarians, going out into the places in which they lived and worked to photograph the other residents and build a picture of a life from the inside contrary to popular stereotypes and ignorance. </p> <p style="text-align: justify;">Community photography, then, was about providing alternatives: alternative images, alternative photographers, and alternative channels of publication and distribution. Half Moon Photography Workshop attempted to provide for all three: in their gallery and magazine, their workshops, and promotion of photographers such as<a href="https://www.fourcornersarchive.org/archive/index?keyword=derek+smith&format%5B%5D=4&format%5B%5D=8&format%5B%5D=16&format%5B%5D=15&format%5B%5D=13&format%5B%5D=14&format%5B%5D=1&format%5B%5D=3&format%5B%5D=5"> Derek Smith</a> and <a href="https://www.fourcornersarchive.org/archive/index?keyword=george+plemper&format%5B%5D=4&format%5B%5D=8&format%5B%5D=16&format%5B%5D=15&format%5B%5D=13&format%5B%5D=14&format%5B%5D=1&format%5B%5D=3&format%5B%5D=5">George Plemper</a>.</p> <p style="text-align: justify;">These ideas were radical in the Britain of the 1970s, where social documentary photography had fallen victim to its own success and become co-opted into mainstream imagery. However, in their suspicions and desire to create new photographers, HMPW were drawing on doubts already seeded within certain corners of the English documentary tradition.</p> <p style="text-align: justify;">Bill Brandt was a pioneer of British social documentary photography. His 1936 book ‘The English at Home’, a pictorial survey of British domesticity between rural and urban settings and across classes, appears a classic of the genre. However, this work was actually highly innovative, as Brandt responded to increasingly ambivalent feelings towards his claim to objectivity. Brandt mobilised a technique of juxtaposition drawn from the surrealists, in which commentary was produced in the collision of the photographs on facing pages. In this, Brandt directly intervened in the images, exposing the mechanics by which photographic meaning was produced, and foregrounding not only his creative role but his subjectivity. </p> <p style="text-align: justify;">Brandt’s suspicion of the photographer’s supposed ‘objectivity’ was also felt by the members of HMPW. They transformed this doubt into a new manifesto. It was not enough to recognise and acknowledge one’s limitations as a photographer: those biases still existed. Instead one needed to encourage more people to document themselves in order to counter the stereotypes of others.</p> <p style="text-align: justify;">In this community-based photography, HMPW found precedent in Mass Observation. Founded in 1937, and another surrealist-inspired endeavour, Mass Observation aimed to record everyday life in Britain through a network of volunteer observers who kept diaries, answered questionnaires, and took photographs of daily occurrences. Over 1,500 people were recruited from all social classes; ordinary people were given the necessary tools and encouraged to record their own lives and the lives of their communities.</p> <p style="text-align: justify;">In its desire for an ‘insider’s perspective’, Mass Observation chimed with HMPW’s ambitions, and the collective themselves were interested in this earlier project, dedicating an issue of <em>Camerawork </em>to the observers. Many of the photographers HMPW chose to exhibit also sat within this ethos: from Derek Smith’s photographs of his Teeside home, to George Plemper’s sensitive portraits of his pupils at Riverside. But HMPW differed from Mass Observation on two vital points. </p> <p style="text-align: justify;">While Mass Observation had aimed at an objective record comprised of a great number of data points, many of HMPW’s photographers shared the tacit assumption of their subjectivity, even if the rhetoric of objective investigation was still present. Daniel Meadows’ <a href="https://www.fourcornersarchive.org/archive/index?keyword=Shuttles%2C+Steam+and+Soot+-+Daniel+Meadows%C2%A0&format%5B%5D=4&format%5B%5D=8&format%5B%5D=16&format%5B%5D=15&format%5B%5D=13&format%5B%5D=14&format%5B%5D=1&format%5B%5D=3&format%5B%5D=5">Shuttles, Steam and Soot</a>, was billed as a ‘serious investigation’ of the Lancashire cotton industry, but what actually enlivened the images for Meadows was the strangeness of the encounters - the interpersonal aspect. </p> <p style="text-align: justify;">Mass Observation had been instigated to create an archive of everyday life, but HMPW had far greater aspirations. As stated in their special issue: ‘to document alone is not enough - the process must be taken further and used to effect social change’. Change was always the purpose of HMPW’s projects, and social change relied upon a fundamental transformation of tradition. Suspicion of the photographer was transformed into a vision of community documentary, and community documentary was transformed into political action. Why take pictures was obvious, but HMPW’s chance of achieving that goal relied on a complex understanding of who (photographer and subject) gained by looking to the past as much as to the future.</p>
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      • namePolitics of Photography
      • essay_titleTowards a New Politics of Photography
      • essay_authorFrances Whorrall-Cambell
      • essay_extract<p style="text-align: justify;">In the first issue of <em>Camerawork </em>Jo Spence sought to explore what she called ‘the politics of photography’. For Spence, images had an ideological content, expressed through a ‘series of visual signals and short cuts’ which needed to be unpicked by reading the context from which the photographs sprung and the intentions of their creator.</p>
      • essay_content<p>The question of how photographs might be political, and how one might decode (or even produce) these messages, dogged <em>Camerawork </em>throughout its existence. This thorny issue was never fully resolved, and the contradictory responses raised within the magazine’s pages track the shifting attitudes buffeting British photography during the 1970s and 80s. </p> <p><meta charset="utf-8" /></p> <p style="text-align: justify;">In her article, Spence proposes that photography’s visual shorthands create a kind of limited understanding: producing ‘stereotypes’ of the world around us. The camera might not lie, but it flattens; draining shades of nuance from the situation to render an issue black and white. In this proposition, Spence brings together an interest in signs developed by the recently-fashionable study of semiotics, and an understanding of photography’s ability to divide the world into ‘types’ present since the Victorian era.</p> <p style="text-align: justify;">Spence’s concern is the photograph as re-presentation: a regurgitation of isolated appearances with no attempt at critique. She posits that the mimetic quality of photography works in the interest of the capitalist media, who commodify these fragments of truth in order to nullify their potential to disrupt false consciousness. Spence was reacting to a world in which photojournalism was still prominent, with the photo-essay delivering the news in illustrated magazines and papers. The proximity of these often-harrowing images to advertisements, with their shiny parade of commodified objects and (particularly female) bodies, was concerning. News photographs took on this sheen, whilst the messages in the adverts, seen alongside ‘objective’ documentary, became naturalised.</p> <p style="text-align: justify;"><em>Camerawork </em>sought to disrupt this process and reveal that both sets of images were political: i.e. the product of a particular agenda. Today, it might seem that we no longer need to be told not to be so naive. We are more suspicious of things that purport to be true than ever before. The idea of truth itself seems up for grabs. We know western media is not to be trusted; it has become commonplace to point to fake news, but the increasing presentation of content through algorithms ensures that even images that have not been fakes, edited or otherwise doctored are still suspect for their very existence in a structure so obviously plugged into corporate capitalism.</p> <p style="text-align: justify;">What, then, can <em>Camerawork’s </em>warnings add to our dealings with the media? Perhaps the answer can be found in Victor Burgin’s essay for the third issue<a href="https://www.fourcornersarchive.org/archive/view/0000003">, ‘Art, Common Sense & Photography’</a>. Burgin states that manipulation of the world, far from being an aberration, is the basis of all photographic practice. Photography is an alchemical process of transformation, rather than a mirror, and recognising this is a vital step in being able to unmask the politics of images. Although Burgin’s chemical metaphor no longer holds, photography is still a distortion of the world, albeit digital, reducing it to pixels and binary code. An awareness of this could enliven us to the ways in which technology reconstitutes media and presents a certain picture of events through its highly subjective networks.</p> <p style="text-align: justify;">Burgin’s most striking point, however, is his identification of the central paradox of the camera. The issue that has long troubled artists, so much so that Brecht felt it necessary to call the instrument ‘politically-deficient’, is that in order to enact political change the camera must be able to penetrate appearances, but it is only able to record them, parroting back the dominant order and reproducing inequality. This is what Spence warns against in Issue One.</p> <p style="text-align: justify;">However, Burgin suggests that this is actually what makes photography so powerful: it enables us to turn the weapons of the master against him. Creating contrast and comparison is for Burgin the way to animate the inherent contradiction between image and reality. This advice might stand for photographers today: expose the irrationality in the world through a medium we know to be much more irrational than we previously allowed for.</p>
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      • 5DebugKit/Lib/Panel/SqlLogPanel.php
      • 6DebugKit/Lib/Panel/TimerPanel.php
      • 7DebugKit/Lib/Panel/LogPanel.php
      • 8DebugKit/Lib/Log/Engine/DebugKitLog.php
      • 9DebugKit/Lib/Panel/VariablesPanel.php
      • 10DebugKit/Lib/Panel/EnvironmentPanel.php
      • 11DebugKit/Lib/Panel/IncludePanel.php
      • 12DebugKit/Lib/DebugTimer.php
  • Frontpage(array)
    • Config(array)
      • 0Frontpage/Config/bootstrap.php
      • 1Frontpage/Config/routes.php
    • Plugin(array)
      • 0Frontpage/Lib/Routing/Route/FrontpagePageRoute.php
    • Component(array)
      • 0Frontpage/Controller/Component/FrontpageComponent.php
      • 1Frontpage/Controller/Component/AntispamComponent.php
    • Model(array)
      • 0Frontpage/Model/FrontpagePage.php
      • 1Frontpage/Model/FrontpageAppModel.php
      • 2Frontpage/Model/FrontpageRewrite.php
  • FrontpageAdmin(array)
    • Config(array)
      • 0FrontpageAdmin/Config/bootstrap.php
      • 1FrontpageAdmin/Config/routes.php
  • Opauth(array)
    • Config(array)
      • 0Opauth/Config/bootstrap.php
      • 1Opauth/Config/routes.php
  • Project(array)
    • Config(array)
      • 0Project/Config/routes.php
    • Controller(array)
      • 0Project/Controller/ArchiveItemsController.php
      • 1Project/Controller/ProjectAppController.php
    • Model(array)
      • 0Project/Model/ArchiveItem.php
      • 1Project/Model/ProjectAppModel.php
      • 2Project/Model/Collection.php
      • 3Project/Model/Organisation.php
      • 4Project/Model/Theme.php
      • 5Project/Model/Medium.php
      • 6Project/Model/TimelineItem.php
      • 7Project/Model/ArchiveItemsTheme.php
    • Behavior(array)
      • 0Project/Model/Behavior/HabtmCounterCacheBehavior.php
  • ProjectAdmin(array)
    • Config(array)
      • 0ProjectAdmin/Config/bootstrap.php
      • 1ProjectAdmin/Config/routes.php
  • Search(array)
    • Component(array)
      • 0Search/Controller/Component/FilterComponent.php
  • Sentry(array)
    • Plugin(array)
      • 0Sentry/Lib/SentryErrorHandler.php
  • Story(array)
    • Config(array)
      • 0Story/Config/bootstrap.php
      • 1Story/Config/routes.php
    • Plugin(array)
      • 0Story/Lib/Routing/Route/StoryPostRouteView.php
      • 1Story/Lib/Routing/Route/StoryPostRouteIndex.php
  • StoryAdmin(array)
    • Config(array)
      • 0StoryAdmin/Config/bootstrap.php
      • 1StoryAdmin/Config/routes.php
  • User(array)
    • Behavior(array)
      • 0User/Model/Behavior/LoggingBehavior.php
  • UserAdmin(array)
    • Config(array)
      • 0UserAdmin/Config/bootstrap.php
      • 1UserAdmin/Config/routes.php