EYEWITNESSED AND UNDERLINED
By MICHAEL PERKINS
IT WASN’T LONG AFTER THE INTRODUCTION OF PHOTOGRAPHY that one of the biggest and most durable myths about the new art was launched to generally unquestioning acceptance. The line “the camera doesn’t lie” attached itself to the popular imagination with what seemed the purest of industrial-age logic. Photographs were, to the 19th-century mind, a flawless record of reality, a scientifically reliable registration of light and shadow. And yet the only thing that moved as quickly as photography itself was the race to use the camera to deliberately create illusion, and, eventually, to serve the twin fibbing mills of propaganda and advertising. The camera, it turned out, not only could lie, but did do so, frequently and indetectably.
Later, as photojournalism came into its own, the “doesn’t lie” myth seemed to drape news coverage in some holy mantle of trustworthiness, as if every cameraman were somehow magically neutral in the way he shot an event. This, in spite of the obvious fact that, merely by changing composition, exposure, or processing, the photographer could alter his image’s impact…..its ability to, in effect, transmit “truth”. Certainly, outright fakery got better and better, but, even without deliberately trying to falsify facts, the news photographer still had his own personal eye, an eye which could easily add bias to a seemingly straightforward picture. Did this proclivity make his pictures “lies”?
As a point of discussion, consider the above photo, which is, fundamentally, a document of part of an actual event. But what can really be learned from what’s in the frame? Are there thousands at this rally, or do the attendees shown here constitute the entire turnout? Are all those on hand peaceful and calm, or have I merely turned my lens away from others, immediately adjacent, who may be screaming or gesturing in anger? And how about my use of selective focus with the girl in pink? Am I simply calling attention to her face, the colors in her outfit, her sign, her physical posture… or am I trying to make her argument for her by using blur to make everyone else seem less important? Am I an artist, a reporter, a liar, or all three?
Here’s the thing: since I don’t make my living as a journalist, I can choose any or all of those three job titles without fear of conflict. I work only for myself, so I make no claim for the neutrality of my coverage of anything, including landscapes, still lifes and portraits. I likewise make no guarantees of objectivity in what I regard as an art. Only the observer can decide whether the camera, or I, have “lied”. We repeat this mantra frequently, but it bears clear emphasis: photographs are not (mere) reality. Never were, never can be.
Good thing or bad? You literally take that determination into your own hands.