The Power of Photography

Photography has enormously evolved over the years to an extent it has become an integral part of most forms of official documentation[1]. Renowned photographers have through their unique pieces managed to create controversial discussions that aim to address the underlying issues ranging from war, natural disasters and various sensitive issues affecting the wider society. This has plaid a pivotal part in enhancing not only the photographs taken but also the documentation provided by the photographers. Thus, through photography, viewers are able to develop a more profound understanding of situations as they happened[2]. Therefore, the paper will critically examine the power of detailed photography to communicate relevant and important themes from the lenses of the photographer to the final visuals produced for viewing. This will be done by analyzing the works of two renowned and globally respected photojournalists Ron Haviv and Luc Delahaye whose works have been integral and instrumental in raising controversial discussions that aim to address the issues represented in the respective visuals.

Susan Sontag remains critical of the importance of photography as she describes the significance of photos in preserving memory. According to Sontag, photographs provide visual representations of events that actually happened as opposed to artistic paintings which represent the artist`s mood, emotions and personal perspective[3]. Contrastingly; photos, once proven legitimate offer a realistic and honest representation of events that occurred. In her essay, Sontag used Ron Haviv`s photographs as example of representative photography, which tells a deeper story than can be seen from the photo frame.

Ron Haviv`s works

Ron Haviv is well respected as a war photographer, mostly due to his work during the Serbian Bosnian war.

Ron Haviv`s April 1st

1992 piece that showed a Serbian guard mercilessly terrorizing Bijeljina residents[4].

            The photo gained prominence for its casualness and indirect representation of issues of great humanitarian concern. From the photo, it is possible to understand the plight the Bijeljina inhabitants were exposed to. Two of the soldiers were looking away, in great assumption of the other soldier`s kick of the two already dead women. However, it is important to understand the strategic positioning of Ron Haviv in capturing the scene as it is. The lifelessness of the victims coupled with the ruthlessness portrayed by the soldier holding a cigarette while kicking the inhabitants reveals the inhumanity of the soldiers. Ron Haviv described this photo as unique and important as it was a depiction of the hostile conditions the victims were subjected to. [5]In his narration, Ron remains adamant that it was difficult to manage a shot due to Arkan`s strict laws regarding photography. Arkan wanted him to portray the Serbian forces in positive light and saw Ron Haviv`s presence as an opportunity for to boost the Tigers PR.

Another of Ron Haviv`s most renowned works is the group photo of Arkan`s troops. The photo was taken by Ron Haviv towards the end of 1991 where Arkan`s troops had their base[6].

Ron Haviv was contracted by Arkan`s troops and served as his main photographer in charge of taking the Serbian`s military photos. From the picture, Arkan confidently reveals his face while all his subordinates mask themselves. Arkan can be seen holding a cub tiger which is an indication of his power and what the military group stood for and believed in. Haviv takes the photo directly as the heavily armed soldiers pose behind their chief commander. This is an indication of the troops power and Arkan`s relentlessness as the group leader. He appears unapologetic and determined to justify his actions as the leader of the Serbian nationalist group. Again, this provides proof of the power of photography from the lenses of a photojournalist as everything the group stood for is represented in the image. The first image was taken without consent and as a result, provided more detail on the heartlessness of the military group. The photos are well taken with the focus maintained on details Haviv thought would be compelling in his narration. For instance, the first photo was taken with the Tiger badge easily discernible on the arm of the young soldier who was kicking the lifeless body. Moreover, Haviv`s narration of the photos give them more credibility and enabled external observers to make more of the photos than would be the case without any additional information from the photographer.

Luc Delahaye

Luc Delahaye`s artistic representations of photography have earned him global recognition for the better part of his professional career. As a photographer, Delahaye has always remained keen on maintaining neutrality in most of his representations. He has not been without controversy, especially for showcasing his graphic war photos in exhibitions. However, it is impossible to rule out his ability as a photography and the power of his representation, more so in challenging pre-existing stereotypes regarding war tone regions. Among his most popular pieces is the representation of the Jenin refugee camp back in 2001.

The remains of the Jenin Refugee camp as taken by Delahaye[7]

The above image is a perfect representation of Delahaye`s technique. The still photo goes beyond the usual fragmented details provided in the media to offer a detached yet fuller view of the subject. Delahaye`s work is more often referred to as art than photography due to his range, thoughtfulness and beauty of the provocative photos he takes. For instance, the photo of the destructions of the Jenin camp invoke deeper thought as the level of destruction brings into question the benefits of the enraging war to the society and the victims who are directly affected. Indeed, Delahaye appears to rely on his ability to take photos to challenge pre-existing ideologies on war and offering more than just journalistic photography. Instead, he takes provocative photos, which similarly to Ron Haviv, challenge people on their humanistic values as they reveal more than one subject. The photo shows people standing in the destruction; some in groups, others individually as they appear confused, devastated and hopeless. This leads to numerous questions regarding the state of life in the refugee camp. Are there other survivers? What next for the surviving refugees and the locals?  Therefore, the image serves as an indication of the power of photography and how it can be used to evoke emotions and challenge societal stereotypes.

Delahaye`s photo of Biljana Vrhovac  taken in Bosnia,1992[8].

The youthful lady was greatly injured by a shell and had her pet dog lying lifelessly next to her.  An onlooker can be seen in the picture which raises even more questions to the viewer of the image. The pain and agony is evident from her face as she lies in disbelief with one of her hands detached from her body. The picture caused controversy as it was graphic and represented a dying woman.  For Delahaye, the process of taking such photos is gruesome emotionally and drains photojournalists in more ways than one. However, as he describes it, detachment brings about power for a photographer. By detaching from deep feelings of sorrow, he was able to capture the photo and share it with the world with the hope of promoting meaningful conversations that can challenge mankind to respect lives and find a solution to the wars. This is a representation of the photographer`s power as his photos were not taken with an aim of earning a living or putting bread on the table, but rather to create awareness of the torture, inhumanity and brutality that existed out there in the war zones.

However, photojournalists have also found themselves in compromising positions where they question the purpose of their pieces. That is, do the images serve their purpose? Do the photos convey enough emotion to instigate change? This would act as a justification to the detachment the photographers had when taking the photo. But more often than not, the photos are used for information and journalistic purposes as opposed to pressing for reforms and immediate changes[9]

Conclusion

There is no doubt that photography has changed how news is reported, more so sensitive and highly controversial news. The use of photography has enhanced credibility of reports and investigations as the still images tell more than just the immediate tales. Ron Haviv`s images were taken in compromising situations but still managed to narrate the state of war in Serbia and how the militants were disregarding human life. Similarly, Delahaye`s photos also raised the much-required controversy that was needed to address underlying issues that exist during war. Indeed, the power of photography cannot be undermined, more so in conveying the circumstances and immediate situations that are present on the ground. Photography is pivotal in creating an emotional connection with the viewers and global stakeholders which is the surest way of addressing highly sensitive humanitarian issues.

Bibliography

Allan, Stuart, and C. Sreedharan. “Visualising war: Photojournalism under fire.” (2016): 93-105.

Lukk, Martin, and Keith Doubt. ”Bearing Witness and the Limits of War Photojournalism: Ron Haviv in Bijeljina.” Human Rights Quarterly 37, no. 3 (2015): 629-636.

Petrović, Vladimir. ”Power (lessness) of Atrocity Images: Bijeljina Photos between Perpetration and Prosecution of War Crimes in the Former Yugoslavia.” International Journal of Transitional Justice 9, no. 3 (2015): 367-385.

Sontag, Susan. ”Regarding the pain of others.” Diogène 1 (2003): 118-139.

[1] Allan, Stuart, and C. Sreedharan. ”Visualising war: Photojournalism under fire.” (2016): 93-105.

[2] Ibid., 101

[3]

Sontag, Susan. ”Regarding the pain of others.” Diogène 1 (2003): 118-139.

[4]

Petrović, Vladimir. ”Power (lessness) of Atrocity Images: Bijeljina Photos between Perpetration and Prosecution of War Crimes in the Former Yugoslavia.” International Journal of Transitional Justice 9, no. 3 (2015): 367-385.

[5]

Petrović, Vladimir. ”Power (lessness) of Atrocity Images: Bijeljina Photos between Perpetration and Prosecution of War Crimes in the Former Yugoslavia.” International Journal of Transitional Justice 9, no. 3 (2015): 367-385.

[6]

Ibid., 7

[7]

Allan, Stuart, and C. Sreedharan. “Visualising war: Photojournalism under fire.” (2016): 93-105.

[8]

Ibid., 44

[9]

Lukk, Martin, and Keith Doubt. ”Bearing Witness and the Limits of War Photojournalism: Ron Haviv in Bijeljina.” Human Rights Quarterly 37, no. 3 (2015): 629-636.