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Credibility of the Photographic Image: a Study in Photojournalism, Seeing and Believing

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Credibility of the Photographic Image: a Study in Photojournalism, Seeing and Believing CREDIBILITY OF THE PHOTOGRAPHIC IMAGE: A STUDY IN PHOTOJOURNALISM, SEEING AND BELIEVING Malcolm L Lyle Masters DiploU13 in Technology Photography CREDIBILITY OF THE PHOTOGRAPHIC IMAGE: iA STUDY IN PHOTOJOURNALISM - SEEING AND BELIEVING " The photograph, irrefutable as evidence but weak in meaning, is given meaning by the words. And the words by themselves remalning at a level of generalisation, are given specific authority by the irrefutability of the photograph " / (Berger & Mohr, 1982) ,f 778 '99d7 PYL. 9g;id - 1 - TITLE CREDIBILITY OF THE PHOTOGRAPHIC IMAGE : A STUDY IN PHOTOJOURNALISM, SEEING AND BELIEVING . DECLARATION This dissertation is submitted in compliance with the requirements for the National Diploma in Technology in the Department of Photography (and in the field of photojournalism) at the Natal Technikon (Now known as the Masters Diploma in Technology). Submitted by Malcolm Leonard Lyle, September 1988. I declare that this dissertation, as titled above, is entirely my own work both in conception and in execution. SIGNED: Malcolm Le nard Lyle NATAL TE HNIKON, DURBAN - 11 - ACKNOWLEDGEMENTS I would like to express my grateful thanks to the following persons and institutions, without whose help this dissertation would have remained within the realms of good intentions. Professor John Butler-Adam, University of Durban-Westville The Staff Development Fund, Natal Technikon Messrs Derek Staniland and Vic Wait, School of Design, Natal Technikon Ms Dael Haynes and Mrs·Hilda Durant Mr Ed Herbst of the SABC (TV) The Killie Campbell Library Financial assistance rendered by the Human Science Research Council towards the cost of this research is hereby acknowledged (with thanks). Opinions expressed or conclusions reached are those of the author and are not to be regarded as those of the Human Science Research Council. - III - A special word of thanks is due to: (1) Ciba-Geigy - Ilford Photo Division (especially Dave Anderson) for all the assistance given by Ilford for the improvement of photography in S.A., which has extended towards the funding of the typing of this manuscript. (2) Modico Photographic - especially to Vijay Motilal - who also have the good of photography at heart. A special dedication to those rare, but by no means extinct birds, those journalists who live by their personal codes. The men and women who, knowing that total objectivity is impossible, try to be fair and factual. They, like us, are victims of the media moguls. - IV- , '. SAMEVATTING TITEL: DIE GELOOFWAARDIGHEID VAN DIE FOTOGRAFIESE BEELD: 'n STUDIE VAN FOTOJOERNALISTIEK, SIEN EN GLO. Die gemiddelde leser verwerp dikwels die geloofwaardigheid van die geskrewe woord, maar verander sy mening wanneer 'n foto as " bewys" bygevoeg word. Die meeste Suid-Afrikaners sou byvoorbeeld 'n mondelinge of geskrewe berig oor 'n massamoord op Angolese vroue en kinders deur die SAW verwerp, maar as die woord aangevul sou word met fotomateriaal sou die meeste van hulle die berig glo. Waarom word die foto as meer" waar" beskou as die woord? Dit kan net so maklik .gemanipuieer word en sodanig manipulasie is baie meer effektief omdat daar geglo word dat dit moeilik of onmoontlik is om dit.suksesvol uit te voer. Duisende jare lank was die woord feitlik die enigste medium van kommunikasie. In . the 400 jaar sedert Gutenberg se uitvinding van los drukletters het die woord" magtiger as the swaard "geword. Dit is maar slegs die afgelope 75 tot 100 jaar dat die foto 'n massakommunikasiemiddel geword het - trouens dit is nou' 'n universele taal. Ons kon in hierdie kort tydperk beswaarlik gewoond raak aan die wonder van fotografie - die spieël met die geheue - en wie durf 'n wonderwerk bevraagteken? -v- ) I t , Beslis te min tyd om sy geheime agter te kom, sy permutasies te begryp of 'n teenmiddel teen sy uitwerking te ontwikkel. Die foto het ongetwyfeld die ideale, eintlik die enigste, bewys vir die geskiedenis geword. Die word alom erken as die onpartydigste middelom 'n gebeurtenis vas te lê. Per slot van rekening word dit gebruik waar 'n presiese weergawe, lewensgetroue of akkurate reproduksie van skakering, lyn, gestalte en vorm vereis word. Die medisyne, wetenskap en fisika maak almalomvattend gebruik van fotografie. Wetstoepassing inligtingsdienste, sekerheids- en regeringsagentskappe, foto-meganiese reproduksie en selfs die vervaardiging van gedrukte kringwerk is afhanklik van die akkuraatheid van fotografie. Dit is 'n werktuig van die wetenskap, optika en meganika en moet dus noodwendig onpartydig, akkuraat en waarheidsgetrou wees. Anders as die woord is dit nie II vormbaar II nie en anders as die skildery is dit lewensgetrou :-vratte en al! Dit alles en nog meer het tot di~ vaste oortuiging gelei dat die II kamera nooit lieg nie ". Dit is by uitstek die II ooggetuie " - ons glo almalons oë. Ons bevestig gedurig ons aansprake deur middel van fotografie, selfs die eenvoudigste kiekie bewys dat ons werklik met vakansie oorsee was. Namate ons kommunikasie meer en meer beeldend word (TV), verwerf ons baie kennis via die medium van fotografie. Eksperimente bevesig wat ons reeds weet, nl. dat die gesigsin bo enige ander sintuig geglo word. Dit is ons belangrikste oorlewingsintuig. Ons voorouers het geen rede gehad om nie hulle oë te glo nie - enige vertakking van die menslike of dierefamilie wat nie sy oë wou glo nie sou lank voor die dinosouriërs uitgesterf het. - VI - t • Hierdie geloof is dus in ons gene vasgelê en dis net die afgelope 50 jaar of so dat ons enige rede gehad het om ons oë te wantrou. Westerse opvoeding beliggaam vertroue in ouers, onderwysers, dosente, ens., wat elk grafiese illustrasie as opvoedingsmiddel gebruik. Later herken ons die beeld in die werklikheid, die geloofwaardigheid daarvan word bevestig en dit verseker toekomstige geloof. Trouens, die beeld is dikwels meer werklik as die werlikheid self. Aangesien waarneming van of 'n ooggetuie of 'n tusssenganger (foto) veronderstel word, word dit noodwendig aan die fotografiese beeld gekoppel en die beeld word die bevestigende sintuig self. Die beeld is dikwels beter as die werklikheid, want besigtiging veronderstel meer tyd om te dink en na geheuebeelde te verwys; die noodsaak om fisies te reageer ontbreek en daarmee saam die adrenalien wat die denkprosesse versper. Die foto bewys in der waarheid dikwels hoe min ons oë wel sien. -. ·Die foto is ongetwyfeld die finale geskiedkundige, 'n " spieël van ons tyd ", waarsonder ons nooit werklik sou geweet het hoe Churchill of Smuts gelyk het nie. Ons sou nooit die grusaamheid van die Joodse slagting geglo het nie, of verseker geweet het dat daar mense op die maan was nie. Die volle verskrikking van die Koreaanse passasiersvliegtuig wat met totale lewensverlies in 1983 afgeskiet is, het nie heeltemal tot ons deurgedring nie, want daar was geen foto's om te bewys dat die werklik gebeur het nie. Ten spyte van die voorafgaande is dit egter 'n feit dat die kamera feitlik niks anders doen as lieg nie. 'n Stilfoto is 'n abstraksie van die werklikheid: dit neem 'n - vn- driedimensionele onderwerp en verander dit in 'n tweedimensionele beeld. Dit breek veelkleurigheid af tot skakerings van grys. Dit vernietig perspektief en skaal. Dit stol beweging en keer die verloop om; dit vernietig die kontinuum van ruimte en tyd. Daar word beweer die enigste ding wat 'n foto nie kan doen nie, is om die waarheid te vertel, want 'n toneel het nie net 'n enkele onveranderbare betekenis me. Selfs wanneer die foto heeltemal eg en " waar" is, kan die byskrif die waarheid omkeer: "The photograph is mute it speaks only through its caption" (Sontag, 1977, p108). Alle kommunikasie het 'n doel en gewoonlik is dit die skepper daarvan se eie gewin. Kommunikasie beinvloed die verhouding wat dit skep of waarop dit berus en as sodanig is dit nie net sosiaal nie, dit is ook polities. Die foto is 'n integrale deel van kommunikasie en het dus outomaties politieke ondertone. Ons moetdus die permutasies van die foto se oënskynlike eenvoud ten volle begryp. Dit is 'n beeld wat geensins 'eenvoudig is nie, trouens dit kan op geslepe 'maniere benutword. Die foto het twee betekenisse, aanwysend en inbegrepe, maar in die werklike lewe is daar nie so 'n onderskeid nie. Die inbegrepe aspek word deur die aanwysende waarde verdoesel. Dit sê: "Ek is 'n bewys, 'n dokument, 'n majienproduk, 'n kind van die wetenskap. Ek kan nie lieg nie want ek het geen bymotief, geen filosofie, geen idealisme, geen ander doel as om die visuele sintuig te dien nie." Die inbegrepe aspek is subtiel, oop vir individuele vertolking en ideologiese motivering. - Vlll - Die mens agter die masjien word uit die gesig verloor. Die beeld word bemiddel, aangepas, beheer en gemanipuleer deur fotografiese tegnieke wat onder die direkte beheer van 'n alte menslike fotograaf is. Time/Life (Editors, 1979) beweer dat 'n objektiewe foto nie bestaan nie. Die grootste fout wat ons kan maak, is "to identify liberal and concerned documentary entirely with reality" (Burgin, 1982). My eie eksperimente het getoon dat mits die aanbieder van die foto en byskrif as redelik onpartydig gereken word, die publiek enige kombinasie sal aanvaar, self byskrifte wat mekaar weerspreek. Weer eens, is daar werklik soiets soos onpartydigheid in die mediawêreld? Foto's word deur individue verskillend vertolk - nie net die fotograaf voorsien sy kyker van 'n " filter" nie, die redaksionele departemente" filtreer" dit verder en so ook weer die kyker sodat dit in sy eie verwysingsraamwerk kan inpas. Vyftige miljoen jaar lank het die mens onvoorwaardelik die oë "geglo;50 jaar is net nie genoeg tyd om hierdie genetiese oortuiging omver te werp nie. Ons het nog nie " al die kodes van fotografiese taal geleer nie - 'n taal veel subtieler, slimmer en meer geslepe as wat ons ons ooit kan voorstel. Die kykers/lesers het inderdaad grootgeword (Gordon, 1984) is beter opgevoed, minder naief, maar aan die ander kant het die media ook nie stilgestaan nie, hulle is slinkser en meer bedrewe.
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