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      • 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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      • essay_extract<p style="text-align: justify;"><meta charset="utf-8" />In ‘Left in Sight’, an interview with the cultural theorist Stuart Hall that appeared in the 29th issue of <em>Camerawork</em>, Hall bemoans the visual illiteracy of the British Left. As Hall saw it, the Left were failing to engage with the beguiling imagery of consumerism and instead continuing to hawk the tired motifs of socialist realism to an even wearier electorate. Advertising provided people with an escape and the promise of ignorance to suffering, even their own, and the Conservative’s success lay in their ability to co-opt these images and emotions, presenting themselves as the party of hope<b>.</b></p>
      • essay_content<p> </p> <p><meta charset="utf-8" /></p> <p dir="ltr">Today British politics seems to be facing a very different situation than what Hall was witnessing in 1983. Both the traditional Left and Right are collapsing under the weight of populism. The two major parties have not only suffered losses from, but also have been contaminated by these forces: anyone watching the disintegration of the Tories on the issue of Brexit can attest to the corrosive power of this new style of politics. However, these developments are very much the legacy of the world Hall was writing in and about. </p> <p dir="ltr">In his seminal essay ‘Notes on deconstructing the “popular”’ Hall argued that the dominant culture always seeks to dis-organise and reorganise popular culture, enclosing and defining its forms within its own. This is a process of energetic struggle going on ‘continuously, in the complex lines of resistance and acceptance, refusal and capitulation, which make[s] the field of culture a sort of constant battlefield.’ Popular culture, then, has no fixed content - it is this struggle - but it also therefore has no constant subject. As such, it can be co-opted to constitute various positions and people: providing justification and substance to multiple identities and ideologies.</p> <p>Today we are living with a politics of <em>emotion </em>not reality. Hall saw that the Left’s problem was its commitment to the depiction of reality, a problem that has only deepened now that reality is a shifting, shadowy thing, and the value of ‘‘fact’ is unclear. In the ‘post-truth’ era the terms of debate appear so cartoonish, and politics itself like a reality TV show, that Hall’s line on culture cannot fail to convince. However, the solution he offers in the  <em>Camerawork </em>interview - that the Left must not only bring reality back into the frame but puncture it - seems more difficult to achieve now than in the 1980s.</p> <p>It was necessary not only to depict but transform reality by questioning standard representations of it. Hall speaks of feminists’ success in engaging critically with the tradition of documentary photography in a way the Left had failed to do. Feminist photographers were able to catalyse the same kind of old-fashioned stereotypes that socialist realist photography traded in into a critique of conditions. Whilst socialist realism was a ‘regressive language’ still depicting working class culture like it was the Jarrow March, exhibitions like ‘<a href="https://www.fourcornersarchive.org/archive/index?keyword=Gaining+Momentum%3A+Eight+Women+Photograph+Women%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">Gaining Momentum: Eight Women Photograph Women</a>’ at HMPW in 1981, showed how feminists were able to take the tropes of motherhood and femininity and through creativity, humour and a critical self-reflexivity create new radical depictions.</p> <p>Hall saw a Left stuck in the past, needing to find a language that was rooted in history but could be mobilised towards the future. Photomontage was a possible solution, producing fractures and ruptures that allowed new visual languages to emerge. These fragmented images may be clumsy or chaotically terrifying, but Hall also saw in them excitement and creativity. These feelings were certainly shared by Peter Kennard, whose photomontage exhibitions and illustrations for <em>Camerawork </em>(nuclear warheads in Constable’s Suffolk, Margaret Thatcher leering from a toilet bowl stand out) celebrate the radical possibilities that emerge when you rip things up.</p> <p>As much as Kennard uses photomontage to reveal to hidden absurdities and outrages of 1980s Britain, there is also something utopian about this process. For Hall, Utopia can provide socialism with an approachable image of the future out of the materials of the past. This perhaps is the real message for our times: just as Hall speaks of the Left in the 1980s needing to learn the lessons of the 1945 landslide rather than just reproducing its images, we need to similarly take our understanding of our history into this transformed present. Whilst today’s political climate might look uncertain and unfamiliar, once we understand that we have the materials of history to hand, we can begin to unpick and learn once more how to react.</p>
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    • Component(array)
      • 0App/Controller/Component/AppComponent.php
    • Plugin(array)
      • 0App/Vendor/htmlpurifier/HTMLPurifier.auto.php
      • 1App/Vendor/htmlpurifier/HTMLPurifier/Bootstrap.php
      • 2App/Vendor/htmlpurifier/HTMLPurifier.autoload.php
  • Asset(array)
    • Config(array)
      • 0Asset/Config/bootstrap.php
      • 1Asset/Config/routes.php
    • Model(array)
      • 0Asset/Model/Asset.php
      • 1Asset/Model/AssetAppModel.php
      • 2Asset/Model/AssetCategory.php
    • Behavior(array)
      • 0Asset/Model/Behavior/UploadBehavior.php
  • AssetAdmin(array)
    • Config(array)
      • 0AssetAdmin/Config/bootstrap.php
      • 1AssetAdmin/Config/routes.php
  • Blog(array)
    • Config(array)
      • 0Blog/Config/bootstrap.php
      • 1Blog/Config/routes.php
    • Plugin(array)
      • 0Blog/Lib/Routing/Route/BlogPostRouteView.php
      • 1Blog/Lib/Routing/Route/BlogPostRouteIndex.php
  • BlogAdmin(array)
    • Config(array)
      • 0BlogAdmin/Config/bootstrap.php
      • 1BlogAdmin/Config/routes.php
  • DebugKit(array)
    • Component(array)
      • 0DebugKit/Controller/Component/ToolbarComponent.php
    • Plugin(array)
      • 0DebugKit/Lib/DebugMemory.php
      • 1DebugKit/Lib/Panel/HistoryPanel.php
      • 2DebugKit/Lib/DebugPanel.php
      • 3DebugKit/Lib/Panel/SessionPanel.php
      • 4DebugKit/Lib/Panel/RequestPanel.php
      • 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