The widespread use of social media has nurtured an age, familiar with sharing images of our lives online, we are curators of how we present ourselves creating our perfect ‘online persona’, scrupulously selecting images to form our desired ‘grid’. This censorship leads me to consider the authenticity of the images we are exposed to on a daily basis.
Online dating apps take this curation to the extreme as users essentially market themselves to potential partners. This demonstrates the importance of authenticity in this digital age. Users may try to express themselves in their profile pictures, including hints towards their hobbies and interests, perhaps a photograph taken in an exotic location, or with a beloved pet. However, this ability to curate one’s own persona can be met with some cynicism as it is often open to deception. How recent was the photograph? What information has been selectively omitted?
When using a DSLR, most advanced amateur and professional photographers will choose to record their images as RAW files. A RAW file can best be described a digital negative which offers greater flexibility to edit in Lightroom or Photoshop than a JPEG file. Many of the post-processing adjustments are arguably similar to conventional dark-room handling, however there is the potential to use extreme post-processing to create an image which is not representative of the actual scene – we have all seen the oversaturated sunset with scorching reds and orange hues!
The introduction of the camera phone has made the process of photo taking far more accessible. The 7/7 London bombings are regarded as a pivotal moment of ‘citizen photojournalism as we accept witness accounts of events unfolding, the content of the footage takes far greater precedence over the quality of the capture.
How might the presence of the camera influence the turn of events?
There is no doubt that a person changes focus when faced with a camera, consciously or not, we shift to present ourselves for the photograph. Take the group family photograph as an example, generations lined up smiling at the camera, what is the likelihood this ensemble followed a family disagreement yet when faced with the camera, each participant presents themselves to be captured in time for future generations.
Damon Winter used a camera phone in his project ‘A Grunt’s Life’ as he worked on assignment in Afghanistan, documenting the everyday life of soldiers.
“They would have scattered the moment I raised my 5D with a big 24-70 lens attached. The men were very comfortable with the phone, and it always got a laugh from them when they would see me shooting with it, with professional cameras hanging from my shoulders.” (Damon Winters 2011)
In my practice of wildlife photography, I am frequently spotted by animals or birds. I love to capture that moment of engagement, like they are somehow consenting to the photograph before they decide to flee or carry on with their business.
Conclusion
There has been a tendency for me to take a photograph at face value, but the first module of the MA has allowed me to develop a deeper understanding of how an image can be interpreted based on several considerations.
What you know for certain?
What might the author be trying to say?
Is there intention in the title?
Do my own experiences and beliefs effect how I interpret the photograph?
These are all important factors to consider as I progress through the course, when consuming the work of others, but also when considering the effectiveness of my own images.
MYERS, STEVE. (2011) Damon Winter explains process, philosophy behind award-winning Hipstamatic photos. Poynter. Available at: https://www.poynter.org/reporting-editing/2011/damon-winter-explains-process-philosophy-behind-award-winning-hipstamatic-photos/ [accessed 24/03/23]
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