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Docuementary photography

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Introduction

I feel that the theme of loneliness could come under documentary photography. This is because the photos I aim to produce photos that show truthful, objective and usually honest photography of a particular subject, most often pictures of people, this is typical of documentary photography. I aim to keep my photos as natural as possible in keeping with the documentary theme. This is why for my I am going to explore how documentary photography is interpreted and how the term defines its image making. The term 'documentary photography' is used widely to describe the taking of images to provide a record. The documentary genre of photography has different modes of representation that I will be looking at. I will be exploring its various styles, movement, practice and its role in social investigation The word 'document' literally means evidence. Since the beginning of photography in 1839, photography is our most accurate record of reality, and has been used to document real people, events, places and circumstances. Documentary photography developed around the time of the Civil War and was assigned a genre closer to journalism. ...read more.

Middle

Another question that arises from the documentary image is why do we accept what we see as a faithful representation? We seem to look at a photograph and immediately assume that they give us an accurate and authentic view of the world. Perhaps this is because of the nature of photography being a mechanical representation of reality. If the photographers were regarded as skilled technicians operating tools then there was probably not much ambiguity surrounding the image. Jacob Riis went on to photograph working class living conditions showing communities and the streets they were living on. In his famous 1888 photograph Bandit's Roost, Riis argued that the alley, like the tenement, was a breeding ground for disorder and criminal behaviour. The image shows men and women standing in the street and hanging out of windows. There was nothing however to suggest that any criminal behaviour was taking place. I am sure that if they were criminals that they would not have been so keen as to co-operate having their picture taken. This left the authenticity of the image to be challenged along with the issue of genuine representation. ...read more.

Conclusion

With this it then becomes hard to distinguish where the objective view of the camera ends and where the photographer begins. When trying to give a completely impartial view you encounter the problem that with documentary photography the notion of an objective view ignores the cultural and social background. Another documentary style photographer influenced by Evans was William Eggleston. Eggleston was one of the first photographers to use colour in documentary photography. He had a whole new influence on it by no longer using photography as a documentary medium in the classic sense, but rather as a means of giving expression to their own personal, unconventional view of the world. This explores ideas about the job of the artist and the relationship between the document and the art of photography. Documentary photography depends highly on the intentions of the photographer. It is decided if they wish to create this completely objective record of events, they want their own subjective view of the world or where they draw the line between photography and art. 'The job of the artist is to pay attention, collect, organise, archive, preserve then write a report, document then make your presentation. The job of an artist is just not to forget' 1. http://www.rleggat.com/photohistory/history/hine.htm 2. http://www.yale.edu/amstud/r66/fr1.html 3. http://www.imdb.com/title/tt0068389/ 4. http://www.annedarlingphotography.com/documentary-photography.html ...read more.

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