October 2024 – Page 4 – Critical Research Journal

The claim that documentary photography should be objective is a popular myth because it overlooks the inherently subjective nature of photography as a medium. While the genre of documentary photography is often perceived as capturing unbiased, “truthful” depictions of reality, the choices made by photographers—what to photograph, how to frame it, when to click the shutter, and how to present the image—are all subjective decisions that influence how viewers interpret the image.

Firstly, no photograph can capture reality in its entirety. The act of framing a shot inherently excludes other aspects of the scene, guiding viewers towards a particular narrative. Photographers choose what elements to emphasise or exclude, and this choice introduces a perspective. Even in seemingly neutral images, the framing, composition, and moment of capture reflect the photographer’s personal, political, or artistic vision.

Secondly, the editing process further shapes the narrative. Photographers often select certain images over others, adjust lighting or contrast, and arrange photos in a particular order. This process introduces another layer of subjectivity, shaping how an audience perceives the story.

Moreover, the myth of objectivity also assumes that photographs are neutral depictions of reality, ignoring the cultural, social, and political contexts in which images are produced and viewed. Historical and cultural norms influence both the photographer’s gaze and the viewer’s interpretation of images, often in ways that reflect power dynamics, biases, and ideologies.

Finally, it is worth considering the argument of philosopher Susan Sontag, who in On Photography pointed out that photographs are not just passive recordings of the world but are “selections from the world.” This selection process necessarily imposes a subjective framework on the material. The idea of a purely objective documentary photograph, then, is illusory.

So to sum up, documentary photography, while often thought to be objective, is shaped by subjective choices and cultural factors. This myth persists because of the medium’s association with truth and evidence, but the reality is far more complex.

How can a photographer engage with these themes?

The Challenges…

A photographer could creatively illustrate the five themes around population decline, overconsumption, and climate change through the following visual concepts:

Overconsumption and climate change: An image showing a large pile of discarded consumer goods, such as electronics or fast fashion, with a desolate or polluted landscape in the background. This could symbolise how excessive consumption in wealthy societies accelerates environmental degradation.
Resource sustainability: A stark contrast between an empty, quiet city street or suburban neighbourhood with solar panels, electric vehicles, or wind turbines visible. This could depict a more sustainable, resource-conscious future, highlighting reduced human activity and environmental strain.
Economic transition challenges: A photograph capturing a boarded-up shop or an empty shopping centre, contrasted with a green, peaceful natural space nearby. This could suggest the tension between a declining economy and the environmental benefits of reduced consumption.
Social care and demographic balance: An intimate portrait of an elderly person being cared for by a younger individual in a small, simple setting. This could reflect the challenge of caring for an ageing population but also hint at the potential for new, more sustainable ways of providing care.
Policy and cultural shifts: A minimalist scene of a family or community engaged in non-materialistic activities—gardening, cycling, or simply spending time together outdoors. The focus on nature and human connection would illustrate a cultural shift away from consumerism towards sustainability and well-being through simpler living.

Documenting alternatives…

A documentary photographer can play a powerful role in encouraging the examination of alternatives to growth-driven capitalism by visually representing the impacts of current systems and showcasing solutions. Through storytelling and impactful imagery, they can raise awareness, provoke thought, and inspire action. Here are some strategies:

Highlight environmental degradation: By capturing images of deforestation, pollution, and resource depletion, a photographer can visually emphasise the unsustainable nature of growth-driven capitalism. Contrasting these images with examples of ecological restoration or sustainable practices could demonstrate the potential for change.
Document communities practising alternatives: A photographer could document communities or regions that are already implementing alternative economic models. For instance, images of cooperative farms, circular economy initiatives, or small-scale renewable energy projects can show how these systems work in practice. Photographs of people living in harmony with the environment, engaging in barter economies, or reducing waste can make these alternatives feel tangible and attainable.
Humanise the impact of overconsumption: Personal stories are compelling. A photographer could focus on individuals and communities affected by overconsumption and unsustainable economic practices. For instance, documenting workers in fast fashion, communities displaced by resource extraction, or those suffering from pollution could humanise the consequences of growth-focused capitalism.
Visualise degrowth and simple living: Depicting people embracing simpler, more sustainable lifestyles is another approach. Photographs of families growing their own food, cycling instead of driving, or engaging in local exchange networks show that degrowth or steady-state alternatives can lead to fulfilling lives. These images challenge the narrative that a good life is synonymous with material wealth.
Show the ecological economy in action: Capturing scenes that represent ecological economics—like urban gardens, community recycling efforts, or carbon-neutral buildings—can illustrate how people can live within planetary boundaries. Photographers can frame these solutions in hopeful, empowering ways that inspire viewers to think about a future not driven by consumption.
Expose waste and inefficiency: Photographers could capture images of abandoned products, food waste, or unused goods, highlighting the inefficiency of a consumption-based economy. These images could be juxtaposed with photographs of people who are living in poverty or struggling to access basic needs, illustrating the deep inequalities in resource distribution.
Capture moments of solidarity and community resilience: A solidarity economy relies on cooperation, shared resources, and collective decision-making. Photographs of communities coming together to support each other, particularly in times of economic hardship or environmental crisis, can inspire a rethinking of individualistic, growth-focused values.
Explore the impacts of slower, more thoughtful economies: Instead of the rush and pressure associated with growth, a photographer can show the pace of life in post-growth or well-being economies. Images of relaxed social gatherings, meaningful work, or the beauty of nature uninterrupted by industry can help viewers imagine a more balanced and content life.

By framing these alternatives in a visually engaging, relatable way, a documentary photographer can challenge the dominant economic narrative and invite audiences to think critically about what type of economy and society they want to support.

A conceptual approach to the alternatives…

A conceptual photographer, as opposed to a documentary photographer, might approach these themes with more abstract, metaphorical, and artistic methods. Instead of straightforward representations, a conceptual approach might use symbolism, juxtaposition, and creative techniques to provoke thought and emotional engagement. Here’s how they could approach the themes differently:

Highlighting environmental degradation through metaphor: Instead of literal images of pollution or deforestation, a conceptual photographer might use symbolic objects or settings to represent environmental harm. For example, a photo of a single, suffocating tree wrapped in plastic, or a landscape covered in consumer goods, could serve as a metaphor for how overconsumption chokes nature.
Documenting alternative economies through abstraction: A conceptual photographer might focus on the principles behind alternatives like degrowth or the circular economy using visual metaphors. For instance, they could depict endless loops, cycles, or repetitive patterns to represent the closed-loop nature of a circular economy. Images might feature people walking in circles with everyday objects being reused or repurposed in unexpected ways.
Exposing overconsumption through surrealism: To critique the consumerism of growth-driven capitalism, a conceptual photographer could create surreal images—such as a figure drowning in an ocean of products, or a person with material goods physically weighing them down. By exaggerating the relationship between people and possessions, the photographer can prompt viewers to question the value placed on consumption.
Depicting degrowth and simplicity symbolically: A conceptual photographer might use minimalism as a visual strategy to depict degrowth. For example, empty, spacious rooms with just a few essential objects, or a person standing peacefully in a wide-open natural setting, could represent a life free from the clutter of material excess. Clean lines and negative space can evoke the simplicity and freedom of a degrowth lifestyle.
Visualising ecological economics through contrast: Rather than showing people engaged in ecological practices, a conceptual photographer might contrast two worlds—one built entirely of natural elements and one built of artificial, industrial materials. The contrast could highlight the difference between living within planetary boundaries versus overstepping them. Using contrasting textures, colours, and materials, the photographer can evoke the fragility of natural systems versus the harshness of human impact.
Questioning waste and inefficiency through absurdity: A conceptual approach to waste could use absurd, exaggerated scenarios to highlight inefficiency. For instance, a photograph of a person meticulously wrapping a single-use plastic spoon in layers of gold or a mountain of discarded items rising like a surreal monument in an otherwise pristine landscape could emphasise the absurdity of waste in a growth-driven economy.
Exploring solidarity and community resilience through abstraction: To depict solidarity without using literal images of people working together, a conceptual photographer might use symbols of connection—such as intertwining hands made of organic materials or ropes forming intricate webs. These images could evoke the strength and interconnectedness of a solidarity economy in a subtle, abstract way.
Challenging the pace of life in post-growth economies through time distortion: A conceptual photographer could experiment with long-exposure techniques or blur effects to convey the slowing down of life in post-growth economies. Time might appear fluid or stretched, with figures moving more slowly or appearing in different states within the same frame, evoking a sense of calm and contemplation.

In each of these cases, the conceptual photographer uses symbolism, metaphor, and abstraction to evoke emotional and intellectual responses. Rather than presenting clear narratives or solutions, the imagery would invite viewers to interpret and reflect on the deeper meanings behind the themes. This can engage audiences on a more personal, reflective level, encouraging them to explore the philosophical underpinnings of these alternatives to growth-driven capitalism.