Graham Clarke was a well known critique of photography. He said that 'In many contexts the notion of a literal and objective record of 'history' is a limited illusion. It ignores the entire cultural and social background against which the image was taken, just as it renders the photographer neutral, passive and invisible recorder of the scene'.
In other words he is stating that photographers that document their findings are neutral recorders of the scene. The photographer is never ignored.
A brief history of documentary photography
In the late 1800's, social reformers were seeking to educate the middle class in a philanthropic manner about social reform. This was done through the use of photography, usually with a moral message.
Photographer Jacob Riss captured a series of photographs entitled 'How the other half live' with these intentions.
As a contrast to Riss's work, Lewis Hine focused less on propaganda and more about the human condition. He was a sociological photographer as opposed to someone who creates constructive narrative of poverty.
'Russian Steel Workers' Russian immigrants portrayed as poor but with dignity and honour.
In the 1930's the F.S.A (Farm Security Administration) sent out a group of photographers on a project to record the Great Depression.
Margaret Bourke-White's 'Sharecroppers Home' (1937) Shows a high contrast with the boy in poverty and the glamorous magazines depicted.
Dorothea Lange's 'Migrant Mother' is perhaps one of the most famous photographs in history. Lange made five exposures of the woman, 'drawn in like a magnet' working closer and closer from each direction. She didn't ask her name or history.
Walker Evans' work presents a set of visual strategies that are employed to provoke an emotional response resulting in charitable giving.
'Floyd Burroughs'-1936
'Coca Cola Shack'- 1935
'Let us now praise famous men'- 1941
'Graveyard, house and steel mill, Bethlehem, Pensylvania'- 1935
Clarke suggests that this image puts Evans' vision of America to rest.
Bill Brandt's work was classed as 'social documentary at its peak'. He was an immigrant, so his work is depicted from a working class narrative.
'Northumberland Miner at his evening meal' 1937
This image demonstrates the English class system. He also developed a picture book entitled 'The English at Home', which is a compilation or 'pictorial survey' of the different class structures of England in the 1930's.
After the Great Depression
Robert Frank's 'Parade, Hoboken- New Jersey' 1958
An outsiders view of a Nation, the image is evoking American ideals by photographing people watching the parade instead of the cliche parade itself.
William Klein's 'St Patricks Day' 1955
This image contrasts with the above by being a staged image, the people in the photograph are performing for Klein. Klein is IN the crowds, and included and recognised by the people in the image.
The Magnum Group
The Magnum group was formed in 1947 by Cartier-Bresson and Capa. It had an ethos of documenting the world and its social problems, as well as internationalisation and mobility.
Carter-Bresson came up with the 'Decisive Moment':
"Photography achieves its highest distinction- reflecting the universality of the human condition in a never-to-be-retrieved fraction of a second".
Documentary and War
The only way of broadcasting images of the war and document the happenings of the time was for the photographer to be 'pinned to the soldier'.
Some famous images from various wars from the 1930's onwards:
George Rodger- 'Bergen Belsen Concentration Camp' 1945
Lee Miller- 'Buchenwald' 1945
Hong Cong Ut- 'Accidental Neplam Attack' 1972
Robert Haeberle- 'People about to be shot' 1969
Don McCullin- 'Shell shocked soldier' 1968
Robert Capa- 'The falling solider' 1936
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