Wednesday, 16 May 2012

In Discussion: Photography and The Law


What are the Morals and Ethics?

Reading on the infamous photography legal case between renowned photographer Philip-Lorca diCorcia and Erno Nussenzweig, an Orthodox Jew it raised question on the morals and ethics of reproducing images, photographing the public and who should own the copyright. Read more on the case here [1].

Philip-Lorca diCorcia's photo of Nussenzweig from his portraiture series 'Heads' (2001)

After acknowledging various viewpoints I have come to agree with the consensus that the photographer has the right to take pictures in a public place and photograph people unknowingly. In Philip-Lorca diCorcia's case, I agree with the New York State Supreme Court's ruling in his favour.

In today's surveillance society everyone is subjected to being watched, by who, we are not knowing; in a sense we are continuously being photographed, frame by frame. A student from my photography course, Rebecca Sharplin-Hughes, states 'The only difference about having your photograph taken is that the photographer has the right to do whatever they please with the photograph, this may mean that a photograph of you is published for all of the public to see,' .

Technology and accessibility have allowed practically anyone to own a device that can take a picture such as a phone camera, DSLR, compact camera and many more. In today's globalized world social networking is particularly prominent today; so an innocent photograph of the street which can capture many people's faces and then published online can be viewed by hundreds and more. This can be seen as a violation of privacy as the people in the photograph have not consented yet this is not necessarily frowned upon or unethical as such yet the viewership can be considerably higher than if a photograph was published in an gallery for example.

If someone, a photographer per se, decides to take this street photography further and to make a 'professional' body of work and publish unsuspecting people of the public in art galleries etc. it is seen as an invasion of privacy. I can relate this issue to instances such as wanting to take a 'professional' DSLR to a concert which I am not allowed purely down to the fact it looks 'snazzier' but compact cameras are accepted yet the function and act of taking a photograph is exactly the same. So in many cases many people see that if a photograph is 'professionally' being taken it can be more unethical but if it's done in an amateur manner it isn't. For example, if a professional photographer used a tripod & camera in the street one may seem more uneasy however an amateur tourist snapping pictures, one wouldn't seem so suspecting. The issue of taking photographs in public can come down to the professional instance however questions such as 'what is professionally taking a photograph' are debatable.

I found this statement interesting by fellow colleague, Sarina Langer's: 'Richard Billingham said that all photography is exploitative, and that all we can do is make the photograph so artistically good that this becomes relatively irrelevant.' I agree with the fact that taking photos in public is fair, but when forcing yourself onto someone's property/land is not only unlawful by trespassing but morally wrong. 

Overall I don't believe in intruding someone's space (in which Philip Lorca diCorica did not do as he used a powerful telephoto lens) is morally right, especially someone's home, however in public people should have the freedom to take photographs and publish them with respect. Then again this raises questions such as 'what is respectable?'.

References:
1. Wikipedia - Nussenzweig v. DiCorcia http://en.wikipedia.org/wiki/Nussenzweig_v._DiCorcia


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In Discussion: Is Digital Photography Devaluing the Photograph?

There has been a long-lasting debate over digital photography vs. analogue and where photographers all over the world are arguing each side. After reading an interview by James Weston discussing Ricky Adam's new book; 'Destroying Everything' points were raised on the role of post-production. See full interview here [1]. There are various factors to consider in this debate such as photographers shooting style, image quality, cost & efficiency, accessibility, manipulation capabilities, archiving, credibility, processing effects etc. which photographers take into account when shooting an image. Thus there are pros and cons of each.

Many photographers use film for its nostalgic quality however increasingly the younger generation are picking up this traditional mode and embracing the processes involved. Many regard film as being outdated though it is one of the first things one learns on a Photography course: the darkroom. Ricky Adam states 'You have to be a lot more resourceful when shooting film. For one you shoot fewer photos, but in doing so I think you learn a lot more about composition, lighting' For this reason we (photography students) are taught the importance of composition which someone doesn't seem as important in digital photography where we have the luxury of shooting many images stored on a small memory card. Especially when I was shooting on medium format film I had the added pressure of getting the 'right' shot in 10 frames meaning I carefully thought of how I created my images. Though the downfall of this is that it is difficult to experiment with ideas and adjusting lighting when you cannot see the image instantly (except Polaroid style cameras) whilst on a budget (film is expensive to buy as it isn't as in demand).

Though the digital camera is superior for image quality with incredibly advanced technology such as the Hasselblad's 200-megapixel camera [2] many pro photographers, especially in the commercial market opt for digital. The ease of transferring and uploading files quickly through the internet and having the ability to manipulate the images is favourable especially in a 'perfection' obsessed society. The 'flaws' such as grain noise, colour leaks usually found in film do not fit with non-blemished image of today.

Despite this I am firm user in Photoshop and admittedly have airbrushed and retouched both digital and scanned film images in what I believe is enhancing the image. Below are 2 photographs, one before post-production, the other after. The original image is a 120mm colour negative that I scanned in. I believe that without digital advancements and availability I would not be able to produce an image I was satisfied with.

(From my Hollie Beauty Shoot, 22/02/12, using a Mamiya RB67)

In some aspects images are a portrayal of something/someone and never the true likeness; how can one capture the 'truth' in a photograph when it is only two dimensional? Therefore digital photo-manipulation does not devalue the photograph but is a means to reach the photographer's intentions for the image. Film photography does not possess the technical capabilities unlike digital photography. It all really depends on what the photographer wants to achieve and the necessary means, either digital or film, to reach that. The question is not which is better as I believe they are equally powerful mediums in their own right.

References:
1. DigBMX.com - Ricky Adam: Destroying Everything http://digbmx.mpora.com/photo-ops/ricky-adam-destroying-everything/ [Accessed 16/05/12]
2. Hassleblad 200 mpx camera: $45,000 http://news.cnet.com/8301-30685_3-20066021-264.html [Accessed 16/05/12]

Useful Links:
Wikipedia - Digital versus film photography http://en.wikipedia.org/wiki/Digital_versus_film_photography
Kenrockwell.com - Film vs. Digital http://www.kenrockwell.com/tech/filmdig.htm

Tuesday, 15 May 2012

Image Exposure: Charlotte Free by Terry Richardson

For one of my other modules on my photography course I was looking into fashion photography and style and thought of Terry's work. One of the images that caught my eye whilst looking through his wealth of images on Terry's Diary was one of model Charlotte Free.

Charlotte Free at my studio #9
December 29th, 2011


This particular photograph stands out from his vast archive of images where he posts practically every day. It dates back to December 29th, 2011 with a caption of ‘Charlotte Free at my studio #9’. I like how simple the set-up is with a single flash attached to the camera body as the only source of light. This set-up is most common for his studio portraiture where he shoots many of his friends, acquaintances and models in his home studio. Usually he shoots black/white for this set up however there are examples of colour portraits such as the above photo. Terry prefers taking pictures in a landscape format showing only the torso and face. I think this particular set-up of shooting is Terry’s trademark style and is reminiscent of his portrait editorials for big magazines such as Rolling Stone. There have even been editorials using this simple set up for magazines like Purple Fashion. Despite Charlotte Free being an up-and-coming model being shot for various advertisements I originally thought she was one of Terry’s acquaintances who had quirky style so decided to shoot her over again. The reason why I chose this shot is I like the off white background and the slight vignette from where the flash fades outwards and her carefree expression. Terry has a great knack of getting the most of his subjects and showing off their personality on camera. He isn’t afraid of highlighting the fun side of ‘untouchable’ celebrities and portraying them as normal people who want to have fun too. In relation to my project about photographing people with style and loving what they wear, Charlotte Free is a great example of individual style. This photo isn’t made up and she hasn’t got a make-up/stylist team on hand; she is herself wearing clothes she enjoys wearing. The salmon pink colour in her t-shirt goes with the aesthetics of her hair and pale skin. Though this image only reveals one item of clothing, a person’s style is in much more than the clothes they wear, but how they wear it as well as the characteristics of their hair and skin. The viewer feels the essence of being a kid and having childlike freedom from her ‘The Ren & Stimpy’ t-shirt (which is seen as vintage today) and the motion of flying her hair around.

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