Getting things straight for the competition rounds was the subject of our last meeting, covering Resizing (large file) images for Reflex Open Competitions, colour space and getting images printed and framing the results (there is more than one way). The club, being members of the WCPF, follows the template for competitions laid down by the PAGB. This standardises competition rules across member federations across the country.
As we have covered this before I will leave you with the links above, before moving on to an argument that we have touched on, but still bares closer scrutiny as it is fundamental to photography in general and to certain types of photography in particular. It is prompted by two events, one referred to in last week’s blog, that of Reuters announcing a shot-in-jpeg-only policy and an interview in the Guardian of Don McCullin published Friday (27 Nov 2015).
The issue is of the veracity of the photograph, how “true” is it? McCullin talks about the difference between digital and film and his issue is the ease of manipulation the digital allows in comparison to film. He is a man of the black and white, an aesthetic both elegant and brutal in its pairing down to form and shape and shade. His point about being left alone in the dark with his images on film I thought quite poignant, especially given the subject matter he is best known for. This flexibility is the same issue that Reuters have, if expressed from different perspectives, of producer and market broker, but the issue is of trust. Trust is a marketable quality, by which I mean it is a quality that buyers and consumers look for in an organisation. Reuters need to be confident that the photographs they are peddling are truthful representations.
The Art/Science Truth/Fiction debates have been with us since the beginning of the medium and it will go on as long as the medium persists, that is to say there will always be dissenters. That isn’t the thrust of this post, nor McCullin’s point, neither is the truth/fiction argument one that Reuters are trying to conclude – they never will because they cannot because the capacity to manipulate, i.e. post production, will always be there and the photographer’s choice of angles, setting, subject will necessarily be a selective truth concreted in the raw image data.
Trust not truth, then. It isn’t an either or, one does not exclude the other, and Reuters and McCullin, whilst making different points, are talking of the same or similar problem. Truth, in essence, is a statement of fact. Trust is an emotional response that dictates the truth for each of the people involved in an interaction. That means multiple and often conflicting truths. That which is true and that which we believe to be true. Reuters want and need their clients to believe in the integrity of the photographs and in McCullin’s field, photojournalism, that is an absolute. It is one that has been fraught from the off, Roger Fenton‘s photograph of the “Valley of the Shadow of Death” as it has come to be known after Tennyson’s famous poem on the Charge of the Light Brigade, is thought to have been staged for the emotional feel rather than battlefield veracity. In 1854 any real-time action photograph would have been pretty impossible due to exposure times. Not so 1938 and the fallen Spanish soldier we talked of (Robert Capra) back in September; lack of veracity got Brian Walski fired from the LA Times and Piers Morgan from the Daily Mirror.
All these were “War” photographs, I use the inverted commas because, whereas they are indeed photographs of war and its collateral damages, war is just the situation they were taken in, moments of humanity glimpsed through the blink of a shutter in a situation stripped of it. What has that to do with club photography? I mean, the club “battles” I have been at haven’t really got beyond the “Canons to the left of them Nikons to the right” level of drama, though all the judges we have had have had stories of metaphorical battle scars from less than impressed entrants and manipulations are deliberate and for effect. Well McCullin also touched on this in the Guardian interview, not camera clubs, you understand, when he talked about the colour reproduction and how it has, in some cases, become garish, certainly unreal. Landscapes, his preferred subject do seem to be going this way. There is one in a current photographic publication, held up as a tour de force to be, I assume, emulated and inspirational. It popped straight back into mind when I read McCullin’s comment: “These extraordinary pictures in colour, it looks as if someone has tried to redesign a chocolate box”. That is a matter of taste, though.
All this could be the influence of the Art World, of which there are many and not always complimentary opinions (in both directions), and comes back to the Art/Science and Mere Mechanics debate, at least in part. The fact is that fashion is an important driving force in setting trends. Changes in technology have democratised photography, and has greatly enabled what the average citizen can do. It doesn’t mean that the average citizen is any better a photographer or producer of images, but the potential is there. How much, then, should the producer of an image be able to say they created to make it theirs? The internet has made a vast and perpetually growing well of images available to an web connected individual. Social media makes sharing very easy. Sometimes people’s idea of sharing goes a little too far. What we enter into competitions we assert that the work we enter is our own. Local photographic clubs don’t often make national newspapers but one did over the summer and the whole club was thrown out of the PAGB competition over the claims of one member to the intellectual property rights of his entry. Trust, plays a part even at the micro level we operate within our clubs. Which is where we came in ….
N E X T M E E T I N G
Skies and how to improve them ….