Smile You’re On Camera: A Glimpse Into The Nefarious Nature Of Photography
Photography in itself is a broad concept, from technical photography transcribing the world without the initial intention of capturing ‘art’ to highly intricate lighting patterns and attention to detail that produces an elevated version of reality marking magazines worldwide. And when, the unassuming phone photograph of a neighborhood cat, in essence, is as valuable and aesthetically pleasing as high production advertisements for international companies, it goes without saying that the heart and intention of an image are in many ways more telling than the image itself. An industry built around conceptualizing reality, the influence of social media, various editing apps, and curating virtual existences, photography drifts between being artistic, earnest, and used as a tool of capitalism. With so many successful photographers being identified as abusers who use their medium and ‘clout’ to find prey- just what is it about the art of photography that attracts these personalities?
Perceived proximity to wealth, success, and beauty seems to be a driving motivator in the world of social media, and while this idea predates the invention of Instagram, it has become evident just how one can, in a sense, ‘weaponize’ proximity to consume others and commodify aesthetics. Photography is essential in this weaponized perceived proximity. Photographers who demonstrate a relationship with big brands, top models, and the mythical world of celebrities through their online presence are instantly considered trustworthy by the masses. Their perceived proximity, whether fabricated or not, is an essential tool in their marketing. This can go south quickly, as seen with renowned celebrity photographers who have been called out time and time again for downright disgusting misconduct and utilizing their proximity to fame and money to consume eager artists, models, and creators who finally thought that their chance had come. It’s no wonder that the world of glitz and glam leaves so many wounded in its path. What is heartbreaking still, is the fact that so many of these photographers brush off proven allegations and continue their lives somewhat unscathed with continued support from thousands of followers.
Aspiring photographers create dating profiles with the sole intention of finding models. “I swear I don’t want to f***, I am just using this app to find models!”, solidifying the concept that so many can use the guise of photography to be in proximity with someone they desire. Their talent comes from finding a subject they are attracted to and then creating ways to simulate the experience of a relationship with them, the neverending pursuit of perceived proximity. Girls who have never implied any interest in modeling, posting cutesy pictures out with friends, or of their brunch on Instagram are suddenly receiving dm’s “Hey are you interested in modeling?” from some guy who found her on Tinder. Using cameras and the production of images as a way of consuming another, photography becomes a tool implying an inherent closeness to the subject. Whether the focus is on an elderly couple running errands in the morning without knowledge of the camera, or an experienced model, it is important to consider the implied closeness and power that is created through taking photographs, and how this may drive narcissistic and abusive personalities to pursue photography as a means of exerting control. American philosopher, filmmaker, and political activist Susan Sontag details in her collection of essays “On Photography (1977)” about the implicit aggressiveness that accompanies the cultivation of personal aesthetics, “Photographs really are experience captured, and the camera is the ideal arm of consciousness in its acquisitive mood. To photograph is to appropriate the thing photographed. It means putting oneself into a certain relation to the world that feels like knowledge — and, therefore, like power.” Sontag draws attention to an appropriative nature of photography that often relies on the external world as justification for appraising talent within the photographer.
Instances of photographers providing alcohol is not an uncommon occurrence, flirtatious energy and sexual advances seem to be a tale as old as time for both aspiring and established models. It is well known that models face constant objectification and dehumanization, a solemn reminder that those we find aesthetically pleasing under a societal lens can be consumed for money. Modeling in itself has progressed in many ways into an industry built around art, self-branding, and finding new means of expressing oneself and one’s flaws against a cutthroat beauty industry. Despite movements, institutionalized brands and photographers refuse to move past previous notions unless it looks like it could help their wallet. The fabricated “wokeness” becomes increasingly performative, disingenuous, and selective. An example of this phenomenon would be the recent rebranding of Victoria’s Secret, a company that continuously produced hypersexualized images of women as something to be consumed and idealized. Victoria’s Secret is now hiring a more diverse cast of models, trying to distance itself from its past in order to continue being a profitable business.
Historically photography was a tool of the oppressor, used by colonizers as a means of justification for horrific actions, as well as objectifying and consuming other humans and their culture under capitalism. There is a nefarious history behind photography and its roots, the exclusive technology used to fabricate a sense of justice and dehumanize oppressed people. During the historic Black Lives Matter protests of 2020, photographers took their DSLR cameras to the events with the sole purpose of capitalizing off of the vulnerable, hiding behind the guise of social justice, selectively ignoring that their actions endangered the lives of many by displaying their identities to the masses for an Instagram post. Privileged white photographers travel the world with expensive cameras adorning the badge of ‘white savior’, disrespecting other cultures and creating images of suffering to be consumed by their imperial nations.
As the medium of photography becomes readily accessible, the camera is becoming a tool of revolution. People who face oppression and violence turn to the medium of photography as a way to regain control over how they are perceived. Women who are objectified and fetishized by the same lens are able to take their own selfies, set up their own photoshoots, and find safety in the female gaze. BIPOC are utilizing photography as a visual language to document the complexities of their experience, as well as evidence of daily injustices. While photography continues to be used for despicable purposes, dehumanization, capitalizing off of cultures, justifying imperialism, and creating an inherent power imbalance that leaves models vulnerable, we should consider what normalized practices we are willing to tolerate as a society. Within supposedly “woke” circles, abusive dynamics are institutionalized, and the seemingly thin link between photography and art grows weaker as we collectively look past the artistry of the medium in favor of a capitalistic approach. In order to work ethically as a photographer, one must always be aware of the experience and consent of the subject and be able to use their tool as a means to cultivate empathy and compassion rather than dehumanization.
RESOURCES FOR SA SURVIVORS AND MODELS:
Shit Model Management Blacklist: https://shitmodelmgmtlist.tumblr.com/
@shitmodelmanagement Instagram is an account that seeks to reveal injustices in the modeling industry. Their blacklist includes the name of photographers who have been called out for inappropriate behavior.
Chayn, A resource for survivors by survivors: https://www.chayn.co/
Chayn is a global nonprofit run by volunteers that creates intersectional resources for survivors.