Photojournalism vs. Visual Storytellin
OnFebruary 9, Mr Romesh de Silva delivered an insightful presentation at the Sri Lanka Photographic Society, discussing the fine line between photojournalism and visual storytelling. The session provided a concise history of documentary photography’s evolution and explored its significance in modern media.
While renowned exhibitions worldwide celebrate powerful photographic reporting, the discussion raised an important question: Is it storytelling? Though often used interchangeably, photojournalism and visual storytelling have distinct roles. The former captures real-world events to document news and human experiences, while the latter serves broader purposes such as entertainment, education, and persuasion. This thought-provoking distinction was one of the key takeaways from the engaging two-hour session
A Historical Perspective
Mr. de Silva began by tracing the origins of photojournalism, highlighting its emergence in the mid-19th century. He explained that the invention of early photographic processes, such as daguerreotypes (1839), was used for documenting historical events. The Crimean War (1853-1856) was one of the first conflicts captured in photographs by British photographer Roger Fenton. However, his images were staged to avoid showing violence or suffering.
On slide 4, Mr. DeSilva showcased the first halftone-printed photograph published in The Daily Graphic in New York in 1880. By the 1890s, newspapers and magazines, including The Illustrated London News and Le Petit Journal, regularly incorporated photographs into their publications.
The Golden Age of Photojournalism (1920s – 1950s)
The 1920s marked the introduction of the Leica (1925), a compact and portable camera that transformed photography. Its lightweight design allowed photographers to capture moments with ease. Mr. de Silva explained that renowned photographers Robert Capa and Walker Evans used the Leica to document history—Capa became famous for his powerful images of World War II, while Evans gained recognition for his work with the Farm Security Administration in the 1930s and 1940s, capturing the hardships of the Great Depression in the United States.
He further stressed the launch of Life Magazine in 1936, further solidified the role of Photojournalism in shaping public perception.
The Digital Revolution (1970s to present)
As the presentation moved into the Digital Age, Mr. Silva made a special mention of National Geographic magazine, a publication well-known among nature enthusiasts. Notably, the magazine was one of the first to use a colour photograph in the 1950s. As the 1980s gave way to the 1990s,” digital cameras replaced film cameras, and the internet provided a new platform for global photojournalism.
The Impact of Global Photo Exhibitions on Journalism
One of the key topics discussed was the ethical dilemmas faced by modern photojournalists. Mr. de Silva emphasized the fine line between ethical composition and unethical staging in photography. While minor adjustments for lighting or framing may be acceptable, he warned that fabricating or manipulating scenes distorts reality and misleads audiences.
As an example, he referenced the recent World Press Photo Exhibition, which was held in Sri Lanka from January 10 to February 2, with showcases in Colombo, Galle, and Jaffna. During the exhibition’s run at Independence Arena in Colombo on January 22, Mr. de Silva pointed out specific photographs he believed to be staged, explaining the reasoning behind his assessment. He encouraged viewers to approach the images critically and with an open mind.
He ask the audience if these pictures were:
“Capturing Truth or Crafting Narratives?“
Category: 2024 Photo Contest, Europe, Singles
Title: A Father’s Pain
Photographer: Adam Althan
Description: Mesut Hancer holds the hand of his 15-year-old daughter Imrak, killed while asleep when her grandmother’s home collapsed during an earthquake in Kahramanmares, southern Turkey.
Skepticism:
– Pristine, puffed-up orange jacket – too clean for a disaster site?
– Furniture placement – were elements adjusted for composition?
– Does the setting artificially enhance emotional impact?
Discussion: Does the setting enhance the emotional impact artificially?
Category: 2024 Photo Contest, North and Central America, Singles
Title: A Day in the Life of a Quebec Fire Crew
Photographer: Charles-Frederick Ouellet
Description: Theo Dagnaud scans the horizon to ensure that firefighter patrols have left, and he can mark the area as “controlled” Quebec, Canada.
Skepticism:
– Pristine, puffed-up orange jacket – too clean for a disaster site?
– Furniture placement – were elements adjusted for composition?
– Does the setting artificially enhance emotional impact?
Discussion: Does the need for a compelling narrative justify potential staging?
Category: 2024 Photo Contest, North and Central America, Long-Term Projects
Title: The Two Walls
Photographer: Alejandro Cegarra
Description: A migrant worker walks atop a freight train called “The Beast” in Piedras Negras, Mexico.
Skepticism:
– Perfectly composed posture – why aren’t arms extended for balance?
– Train appears stationary – is there a real reason to be on top?
– Dramatic angle enhances the visual narrative – was this moment directed?
Discussion: Was the image manipulated to create the illusion of a dangerous scene on top of a train?
Category: 2024 Photo Contest, Africa, Singles – World Press Photo
Title: Returning Home from the War
Photographer:Vincent Haiges
Description: Kibrom Berhance (24) greets his mother after joining the Tigray defense forces.
Skepticism:
-Perfectly aligned subjects and setting – natural or arranged?
– Are intimate gestures (hugs, facial expressions) naturally captured or encouraged?
– Was the composition adjusted for stronger emotional impact?
Discussion: If the subjects were deliberately positioned to evoke a certain emotional response, it may be more about storytelling than pure reportage.
Can Photojournalism Be Trusted Today?
As the session drew to a close, Mr. de Silva posed a question that lingered in the room long after the discussion ended: Can photojournalism still be trusted? The ensuing Q&A session was lively and introspective, with participants grappling with the evolving role of photography in an era where the line between documentation and storytelling is increasingly blurred.
In its ongoing mission, the Sri Lanka Photographic Society continues to provide a forum for such discussions, encouraging both amateur and seasoned photographers and even viewers to engage deeply and question the stories behind each photograph.
Further Reading:
For those interested in the ethics of photojournalism and the debate over staged imagery, explore these key articles from reputable institutions like the BBC, Columbia Press, The Guardian, and Foreign Policy. These pieces critically examine the controversies surrounding the World Press Photo exhibition.
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