Photography After Photography

This essay is Abigail Solomon-Godeau’s analysis of Harry Callahan’s work. The first major theme she discusses is photography being “predominantly referential, even when apparently self-reflexive” (Solomon-Godeau, 77). Moreover, even when an artist attempts to put their personality in their work, the weight of the analysis is almost exclusively placed on the viewer. This is perhaps true of all art. Despite the artist having some explicit intention, the work is often still left up to interpretation. Due to each individual having unique experiences, artwork often evokes different symbols based on the viewers own references.

Solomon-Godeau then moves on to consider street photography as a genre. Street photography, and photography in general, is commonly seen as a social practice (Solomon-Godeau, 80). Street photography of people supports this idea because the photographer moves into the public realm to view societal interactions. Therefore, there is a clear relationship between the photographer and the subject. However, there is also a wall between the photographer and the subject in street photography. There exists a power dynamic and a vulnerability. With these elements, street photography becomes less of a social practice than originally considered. On the contrary, street photography is more isolating than other types of photography. The idea of street photography as isolating also corresponds to Solomon-Godeau first point: the subjective nature of photography. Although a photographer may set out to document a street with a particular goal in mind, “photography might be read in terms that exceed the individual intentions or subjectivity of the photographer” (Solomon-Godeau, 80). Moreover, within photography, there are also aspects that may distort the original intention of the photographer. To what extent would isolation distort a photograph and the photographer’s subjectivity? It is important to acknowledge the limitations that exist within street photography.

Photographing an individual without their awareness or consent seems odd and controversial. What especially comes into play when realizing this factor is class. As Solomon-Godeau points out, when street photographers first began taking pictures of individuals, “it was often the disadvantaged–the poor–who served as photographic subjects” (Solomon-Godeau, 85). Moreover, the power structure that exists within photography is perhaps most dominant in street photography. Also, when photographers set out to document something, they are often looking for subjects that confirm their pre-existing beliefs. For example, photographing individuals who are drunk, unconscious, or blind allows the photographer to capture the moment uninhibited. Therefore, this allows the photographer to easily “secure and affirm the presiding worldview…his ‘vision’ of the urban landscape” (Solomon-Godeau, 89). This type of photography immensely illuminates the power structure between the photographer and the subject as well as the sharp contrast in class. By photographing individuals in a reduced state of mind, the photographer is taking away any power the subject had to begin with (not a lot).

Additionally, the essay discusses how the majority of Callahan’s subjects were women. This further reveals a power dynamic: the patriarchy. Solomon-Godeau predicted that Callahan focused on women because they were unlikely to challenge or confront him (Solomon-Godeau, 92). Also, she states, “the physical proximity of the subject is counterpointed by her psychological distance, a dissonance further emphasized by Callahan’s framing and cropping” (Solomon-Godeau, 92). Furthermore, Callahan’s blunt cropping may emphasize the multiple power dynamics. In this way, he is additionally objectifying the women and maintaining full control over what details are seen.

It is important to step outside of the role of photographer and analyze street photography in a more objective sense. The description of the photographer as aggressive, predatory, and possessive is sobering (Solomon-Godeau, 88). The dramatic power structure that exists between photographer and subject is always present. Street photography will always have this uncomfortable and ethically questionable nature. Overall, Solomon-Godeau’s essay requires immense consideration of the genre of street photography.