From storytelling to social truth: The newer avenues of documentary photography

Storytelling through pictures is an old idea that has existed for generations. However, what breathed new life into the concept of telling stories through pictures was 'documentary photography',—something which has integrated a crucial social purpose alongside mere storytelling.

Documentary photography aims to portray, in a manner, more informal than was generally practiced, the everyday lives of ordinary people to other ordinary people.

This simple idea —capturing and showcasing the everyday life of the "everyday people"—gained widespread popularity in the early twentieth century. Though its prominence has diminished over time, a modern form of social documentary has emerged, shaped by the proliferation of media throughout the twentieth century.

In the 1920s-1930s, large-scale mass printing presses grew in popularity, opening the door for documentaries to take off as a popular movement. 

Photographers became essential contributors to the field of new media, playing a key role in filling the pages of mass-produced magazines and newspapers. Photo agencies began to represent their interests, while Western photographers took on the task of documenting daily life abroad. They acted as reporters, shouldering the responsibility of capturing moments and, in doing so, engaging in what could be seen as a 'humanistic act.' From their efforts came not only photographs but sometimes stories to accompany them as well.

Initially, the primary goal of social documentaries was simply to keep records, but by the 1930s, it transformed into a means to 'enlighten' and 'educate.' Photographers began compiling images to create a picture story—a sequence of photos that visually conveyed events, relying on minimal text for context. These photo stories were impactful, capturing life in motion and portraying people in all their emotional states—smiling, crying, angry, or appearing vulnerable in everyday moments.

Documentary photography exists at the crossroads of art and journalism, blending creativity with the depiction of reality. In essence, it doesn't claim to present the absolute factual truth but rather offers interpretations of human actions through the eyes of the observer. On the other hand, objective or descriptive photography tends to provide a more detached, disengaged, and distant perspective on the scene being captured.

Over time, as technology became more integrated into the process, social truths became more closely tied to the act of documenting. This led to the rise of documentary photography, which became a key tool within the broader movement of 'social change' and 'liberal studies.' 

Its mission was to inform the public, encouraging people to become aware, while also allowing the photographers themselves to gain insight into the lives of "the common people."

Social documentary photography originally aimed to build the concept of the public realm through shared social experiences. However, today, its purpose has shifted away from viewing photography as simply a "document" or form of proof. A new perspective emerged in this evolution: the notion that "the way of seeing is also a way of knowing," and that "vision is knowledge." 

Essentially, the more one sees and observes, the more attuned they become to their senses, leading to greater understanding. This process of "seeing" as "knowing" became equated with "truth," especially when tied to factual evidence.

The notion of photographic evidence gained prominence with documentary photography, becoming a popular synonym for the very idea of truth. Thus, visual proof was paired with a strong pedagogical approach and judicial tone.

In 1935, during the Great Depression, Roy Stryker, an economist, government official, and photographer, was appointed to lead the Historical Section of the Information Division in the Resettlement Administration, which later became the Farm Security Administration. 

He initiated a photography programme to document the organisation's activities, recognising the medium's critical importance for the administration's work. He obligated his hired photographers to inform and familiarise themselves of the situations they were reporting on from the field.

Photographer Theo Jung disagreed with Stryker's method, preferring to rely on his instincts instead. This led to a fundamental difference in their approaches, with Stryker favouring a deliberate method and Jung preferring on-the-spot decisions. As a result, Jung was eventually dismissed.

The Farm Security Administration programme concentrated on farming communities and small towns, and the photographers believed their work was important, even if it only mattered to one person at headquarters. 

People often find temporary comfort in denial, which can be fueled by propaganda. However, propaganda rarely succeeds in the long term, and as propagandists, Stryker and his team were not particularly successful.

Roy Stryker viewed Dorothea Lange's 'Migrant Mother' as the pinnacle of photography, selecting it for the cover of 'In This Proud Land'. However, his organisation took great pride in the naturalness of photography—capturing moments that were organic, unposed, and unaltered. It troubled Stryker that the 'Migrant Mother' image had been posed.

Photos that deviated from this principle of authenticity were considered propaganda and, therefore, unreliable. This caused issues when Arthur Rothstein moved a steer's bleached skull in drought-stricken South Dakota to enhance a photograph.

There are various ways to depict or tell "social stories." How these stories are presented—the strategy behind their exposure—can shape the goals of documentary photography. As a result, documentary photography is not just about preserving traditional methods of storytelling but also about exploring new ways to convey narratives.

Documentary photography exists at the crossroads of art and journalism, blending creativity with the depiction of reality. This approach emphasises that one's interpretation of real life becomes their personal truth, and what truly matters is the existence of an interpretation with depth and insight—a reflection of its profundity.

In essence, documentary photography doesn't claim to present the absolute factual truth but rather offers interpretations of human actions through the eyes of the observer. On the other hand, what is considered objective or descriptive photography tends to provide a more detached, disengaged, and distant perspective on the scene being captured.

The need for recognising reality isn't limited to the photographer or the subject but also involves the viewer. Documentary images imply that there is a specific perspective through which they must be seen. However, the "politics of vision" shape how an objective photograph is interpreted by a viewer when it comes to confronting the truth. 

Humans have historically struggled to face reality, often resorting to "denial," a concept now widely referenced in popular culture, even by those unfamiliar with its psychoanalytic origins. Denial is evident in people from all walks of life—teachers, students, or anyone seemingly avoiding an obvious truth that's apparent to everyone else. 

Therefore, when a documentary fails to change or shift the mindset of its audience, it's not entirely surprising, even if the documentary engages them with captivating images. 

As time progresses, documentaries must evolve. They need to adapt their strategies to connect with new audiences who have different values and demands. This shift has allowed documentaries to explore diverse voices and spaces, supported by the media and the spectacle-driven nature of contemporary culture. A new openness toward photography as contemporary art has emerged in institutions, reflecting this ongoing transformation.

The author is an internationally renowned artiste working with photography and video. He has been an honourary fellow at Columbia University.