Photographic class tourism was discussed on the Its Nice That site recently in a interesting piece by Liz Gorny , Liz asked photographers …
Should only working-class photographers take pictures of working-class places?
The recent explosion in photography within public spaces has inspired a number of writers / photographers to revisit the “Class Tourism” question in the Twenty First Century , although the question is nothing new the responses are certainly evolving and addressing many of the concerns I have carried about with me for years , when is it okay to park up your comfortable middle class lifestyle and adopt a Pulp inspired “Common People” ethos .
You wanna live like common people
You wanna see whatever common people see
Common People , 1995 - PULP
Anyone can make exposures wherever they want within public places in the UK but that’s not the question , the question in my view is really about who is best placed to shape and create the significant social histories of working class life ?
My response is based on the assumption that we are referencing serious Documentary Photography / Post Documentary Photography here …
Ethical Doc photography requires deeper motivations than the pursuit of a few “likes” & print sales from a herd of passive onlookers on social media …
Beware of the online photographic audience , they appear to have a insatiable appetite for what the cynical might describe as “Poverty Porn” , The “Good” Old Days & “Class Safaris” , the representation of others is a complex issue that requires deep thought and understanding , questions of ethics , motivation and context should be examined deeply before judging photographers , photographs or photo books , everything is not always what it seems , money appears to mute famously sharp , cynical , critical eyes !
Speaking on behalf of others photographically is a dangerous game , the best representations of working class life are usually created by independent photographers who are already deeply embedded within their communities or locals as I call them , folk who are passing through motivated by cash & glory will always be seen for what they really are …
Photographers need to understand what they are photographing and why …
Togs should learn to interpret their own life / class photographically before becoming "class tourists" photograph the life you know , make sure you possess more than good indentations before trying to “Help” ! Photo : David Barrett
A culture of long term photographic engagement and trust is necessary to enable meaningful photographs and significant outcomes , a DIY ethos is preferable to disingenuous projects of working class life supported by trade union busting funding platforms and publishers who look the other way , facilitating local photographic activity through teaching , mentoring and community exhibitions is the only sustainable route to photographic authenticity and representation, let me be clear this vision involves pro photographers making a difference within communities and being paid , serious vision requires serious budgets, serious togs and a genuine commitment !
Significance can only be created by those who are already invested / connected within their communities , the views of locals are usually uncorrupted , sincere and informed , arm local folk with cameras , reward them , treat them with respect , light the touch paper and stand back …
These thoughts are not theoretical , I led a project where I grew up , we converted a old building into a community photography project , this model was not rare back then as a positive culture of community arts existed , it would not be that difficult to initiate and facilitate a community project with this ethos in the digital age, as darkrooms are no longer essential and phone cameras are common place …
The working class do not require book deals , permission or middle class approval to record their own social histories, initially they might require access to consistent funding and that’s the rub , public money often comes with unwritten editorial strings attached , critical pictures can be seen as biting the hand that feeds …
I once gave a group of unemployed youths cameras with the instruction to make pictures that reflected their lives , every one of them made a picture of the person they shared their camera / film with lying on the ground near a gravestone, with arms crossed , hands on shoulders and eyes closed , the sadness of this symbolism was not wasted on me , in fact I was secretly impressed but I could not share this story or their pictures with anyone until today , this was a publicly funded project ?
Remember the Ashington Group and the Workers Educational Association , legacy is a journey that starts with one step , where and when it ends is up to you …
Working class visual history is better when it is created by working class photographers , the same old middle class interlopers , voyeurs , speculators, spivs and spectators are no longer required , “Common People” can do it for themselves , given the chance and a little support …
Many thanks to Liz Gorny and It’s Nice That for inspiring this blog …
Heres the link https://bit.ly/3yYTEZm