Context and Narrative

I bought this book in the hope of unlocking the mystery (to me) of what context means photographically.

I scored 12 out of 20 for context in TAOP - an OK mark but would have meant a great deal more had I the slightest clue what context is.

In broad terms, I guess context refers to two things:

• the context of the subject; understanding the background, environment etc of the main source of interest in an image. By definition, one contextual characteristic - history (how did the subject end up where it did?) - can hardly be handled in a single image.
• The context of the photographer - his or her values and judgements, their slant on the subject, their prejudices; all manifested by the choice of the subject, its setting, lighting etc.

That is fine as far as it goes but not sure how useful it is. So one turns to Context and Narrative by Maria Short, a lecturer in the subject.

The book is written clearly, avoiding pretentious language, and is practical - almost a workbook. This post covers the first two chapters: The photograph and Subject.

In the introduction, Short defines context as "...the circumstances that from the setting for an event, statement or idea. In photography the word 'context' can relate to the contents of the photograph, its placement in relation to words or other images, the publication or place in which it is viewed and the broader photographic, social, cultural, historical and geographical context". 

This is somewhat less than useful - almost a tautology - "context is what it is".

1 The photograph 

In chapter 1, Short covers the ground of the role and function of the photograph - from the mundane telling of the truth - the literal depiction - such as passport photographs to the broader social function of the photograph as a message, which is where context comes in. Is it this that defines a photograph as more then just a record shot? Is context the extra ingredient?

Short explains that photographs can distort the truth by

• allowing the photographer's intention to portray the subject in a chosen way;
• a literal perspective: including or excluding relevant factors, the composition/timing;
• intention - arranging an expression;
• technical approach - format of the image;
• the value that the audience attributes to the photograph.

Photography is well documented as social documentary. It may also serve to alter reality, e.g. Crewdsen's constructed scenes of American homes.

Photography may also be developed as a brief - Short discusses student, self directed and professional brief. (Not sure where this is going to be honest). Completes with a case study of Richard Rowland's work Regency House, images of men with mental and related issues.

2 The Subject

Short believes you need to be passionate about communicating 'something' as this informs every choice you make in photography.

Firstly you have to decide that a photograph is actually the best way to demonstrate the concept rather then the written word or a drawing.

Understanding the subject is a key - example is Eva Arnold's work.

The camera format will help identify the unique approach as well as technical considerations like colour or B&W.

3 Audience

Appreciate the context in which an image will be viewed. Perhaps photographer can affect the audience reaction with his 'gut instinct' and 'feel'.

The Shootback project in Kenya, where children were given a camera and told to take images of their slum homes is a good example of clear rationale

Perception-shifting communication - example is Tom Stoddart's images of southern Sudan in 1998; raised £500,000 despite Claire Short's reservations about compassion fatigue.

Technical quality is significant aspect - if not, can we say with honesty that ...."I am  translating what I see in visual terms as well as possible" (David Hurn, On Being a Photographer, 1997).

Pure photographic depiction - example is Perthold's work when he attached cameras to collars of cats - great example of context.

4 Narrative

Narrative generally has beginng, middle and end.  But photographic narrative can imply what has been and/or what is to happen.

As impe narrative is following a journey, such as Jose Navarro's phot documentary of the walking of 5,000 sheep 250 miles by shepherds (Trashumantes, Jose Navarro).

Add visual punctuation, such as triptychs or using particular size and shape of image.

Single image narrative involves breaking down the components of a imag. Sometimes