Eyes on the World; Photojournalism and Documentary Photography

The article explores visual storytelling as it evolves in documentary photography and photojournalism. How do they navigate truth, ethics, and a new age in digital change?

During my post-secondary years, I was intent on becoming a documentary videographer. I studied photography and anthropology while building a strong portfolio to help me apply to schools specializing in this field. To assist in my process, one of my mentors provided me a pathway to attain funding via a SSHRC grant to document our Thai field school.

I won the grant and it was my first venture into creating photographic and video documentation as a potential career. My path took a bit of a left turn after my graduation, but this moment stuck. It became part of my foundations for this current career trajectory.

During my studies, I surrounded myself with leaders in the field of documentary photography such as Ansel Adams (Art), Annie Lebowitz (Fashion/Celebrity), Dorothea Lange (Great Depression), Edward Burtynsky (Environment), Henri Cartier-Bresson (Candid), Nan Goldin (LGBT Subculture), Wade Davis (Anthropological) and Steve McCurry (Culture) to name a few. But what does documentary photography mean, exactly? Also, how does it position itself up against photojournalism?

Documentary Photography

It is hard to discern the difference between documentary photography and photojournalism sometimes. The UK’s Tate Modern states that documentary photography is a style used to provide a straightforward, truthful, and objective representation of people, places, and events. Key elements include long-form narrative storytelling, social and historical awareness, and unposed real-life observation. Amine Hamouda’s tips on this type of photography help summarize the process needed for considering the fundamentals.

In documentary photography, the photographer wants to:

1. Tell a story that revolves around a main theme
2. Do thorough research on the subject
3. Connect with the subjects involved. Connection = authenticity
4. Seek unique perspectives (compositional qualities) ie. images using different angles, compositions, viewpoints, etc.
5. Craft a narrative with the images

Ultimately, documentary photography should tell a story that evokes an emotion in the viewers. (Resource) So what about photojournalism?

Photojournalism

Photojournalism is defined as photographic images used for work-related purposes to report news stories. In most cases, they are taken quickly and without huge concern for compositional qualities. They are rarely manipulated after this fact due to time constraints. (resource) Since Reuters is an unbiased global news agency, this perspective gives a broader, balanced perspective of what the process might entail.

Guidelines for Photojournalists from Reuters Photographer, Damir Sagoli:

Anticipate – Know what you are walking into, be on the scene early, and know the parameters you are working within

Research – Have a thorough understanding of “where, when and why” which involves the cultural as well as the geographical information

Reach Out – get to know people you can count on for translation, transportation, and equipment back up plans

Prioritize – when working with a team decide what your strengths are and focus on those

Practice – know your equipment

Interact – much like all those great photojournalist films from the 20^th century, your part of a team. Make sure to engage with the people you’re working with.

Be Invisible – I have often thought this was one of the strengths of a good photojournalist; they blend in.

Additional research results reveal that the difference between photojournalism and documentary photography is in the slight variations in process. For example, timing, postproduction and ethical guidelines vary slightly between the two. But in the end the line is still quite blurry as this video from Brody Kuhir points out.

Many photojournalists may have started as documentarians and visa versa. We will discuss this in our upcoming interview with Greg Girard. However, to get a better understanding of how things have changed let’s review some historical background on photography.

A Historical Summary of Photography

Imagery itself has changed from where it began in the 19^th century with its exploration of monochrome processes such as daguerreotypes, collodion and calotype processes. By the end of that century, Kodak had introduced us to film and the box camera. As the 1900’s rolled around, photography shifted from monochromatic processes to a multichromatic focus moving into compact cameras and color.

Much like the previous century, the end of the 20^th century closed out with the groundwork being laid for digital photography. The charge-coupled device or CCD was invented in Bell Labs. That invention began the initiation of images stored on semiconductors. These were later replaced by an active pixel sensor or APS which are used by cell phone cameras. Finally, in the 21^st century, we see the explosion of digital imaging and manipulation through various devices and apps. Which has now led to the use of artificial intelligence and more finite photo alteration processes.

From the 20^th-21^st century, how these images are being captured changed as well. Citizen journalism starts to displace a specialized trade. A rapid shift occurs in how stories are related via social media platforms. Changes are occurring at light speed and even “real time” has changed its previous definition.  While global events reach audiences in seconds, the photographic profession faces deep challenges regarding trust, image manipulation, and economic viability.

Ethical Foundations

In our more recent past, both documentary photography and photojournalism were guarded and guided by a strict code of ethics. Within the last 30 years this has dramatically shifted. Ethically speaking, lines are being redrawn at a rapid rate much like the digital realm we live in.

From the National Press Photographers Association of the USA, here is an AI summary of the 10 core standards into a more concise five. These summarized standards are:

Accuracy and Truthfulness: Represent subjects accurately and in full context without altering, staging, or manipulating photo or sound content.

Non-Intervention: Do not influence or alter real-world events while photographing or recording.

Compassion and Respect: Treat all subjects with dignity, showing special care toward vulnerable individuals and victims of tragedy, while limiting intrusion into private grief.

Independence and Integrity: Maintain objectivity by refusing gifts, compensation, paid source arrangements, or favors that could influence coverage.

Professional Conduct: Avoid harassing behavior, refrain from sabotaging colleagues, and maintain high standards of professional behavior. (RESOURCE)

Ideal aspirational practices for visual (video & photographic) journalists emphasize defending public access to information. In addition, it is important to develop a broad and proactive perspective informed by current events seeking diverse or underrepresented viewpoints. Additionally, these aspirations call on photojournalists to safeguard their professional independence by avoiding compromising outside involvements, to remain humble and unobtrusive while capturing authentic photographic moments.

As can be read here, through various platforms and news agencies, it is understood these guidelines have shifted. Even though some photojournalists, news agencies, and media platforms still uphold these standards, many have been compromised by the higher forces governing them.

The Silver Lining

However, there have also been many who have reacted to this rapid change with a desire to address the Core Modern Challenges of:

• Verification and AI: The rise of generative AI and easy digital editing forces news organizations to enforce strict ethical boundaries and verification checks. [1, 2]
• Economic Pressures: The collapse of traditional print media business models has reduced staff positions, forcing more photojournalists into freelance precarity. [1, 2, 3]
• Context vs. Impact: Critics argue that single, shocking crisis photos often lack necessary historical context, prompting a push for deeper, long-form visual documentation. [1]  (Summary taken from Google Gemini Ai)

Currently, many of the previous specialized photographers are sharing their works via galleries, documentary film festivals, social media platforms and other media-based platforms. These times have proven both challenging but inspiring to see how adversity can create growth and change. What will this next growth spurt in the 21^st century show us?