Critical Thinking Essay Photography Examining Photographs: Bias

Critical Thinking Essay Photography

Examining Photographs: Bias in Photography

A picture is worth a thousand words. Yet, what goes on behind the scene to make that image possible in reality? Photography as a genre is incredibly powerful. On the one hand, it is seen as more realistic than any other art form; yet at the same time, many within the field have constructed tailored messages within this preconceived preference within the public mind frame.

The philosophy behind photography is actually much more complex than it may seem. Examining the writings of Sontang (2005), there is clearly a much more abstract conception of the power of photographs and their position within society. As such, Sontang presents a very interesting view of the paradox with photographs in contemporary societal life. Photographic images are everywhere in society. As our technology has continued to evolve, so has our fascination with images. As photographs are actual reproductions of what really happened, they have long held a special place in society's imagination. Whatever it was that was photographed actually took place in some way or another, even if this scene was artificially staged it was still a scene conducted in real life for a specific purpose. In this idea, "a photograph is not only an image (as a painting is an image), an interpretation of the real; it is also a trace, something directly stenciled off the real, like a footprint or a death mask" (Sontang 120). Due to the fact that the photograph replicates what actually was real at one point in time, it is a preferred image compared to paintings or drawings which were only mere interpretations to what was in existence at one point or another.

Yet, Sontang also highlights the concept that photographs are also intriguing to us based on the fact that they can alter a state of reality for artistic purposes. Because they can be altered, there is a potential for manipulation to become more powerful. Here, Sontang states that "photographs do more than redefine the stuff of ordinary experience and add vast amounts of material that we never see at all" (Sontang 131). Certain elements are highlighted, drawn into focus by the craft of the photographer in order to paint a message from within a realistic foundation. Sontang posits that "reality as such is redefined -- as an item for exhibition, as a record for scrutiny, as a target for surveillance" (Sontang 131). Because the photograph is so widely preferred by the masses, it becomes a powerful way to create messages targeted at issuing a certain public response or individual emotion. Even when images in photographs are artificially arranged, there is still a conception from the viewer that the scene did actually take place -- that it is in fact, conceivable. This is a huge impact on marketing potential. If the consumer can see him or herself with the product so easily based on photographs, they will remain a major staple in the marketing industry. There is a lot of artistic licensing within the genre of photography. Here, Sontang suggests that "photography has powers that no other image-system has ever enjoyed because, unlike the earlier ones, it is not dependent on an image maker" (Sontang 132). This message can then become a lucrative and coveted marketing tool for advertising and political purposes.