the photographic essay
Projective
In creating images the photographer is able to plan and arrange either the timing, the subject matter
or location so that the resulting imagery fi ts the photographer’s requirements for communication of
content. Photographers illustrate what is often in their mind’s-eye.
To create images in collaboration with the characters of the story a connection must be made. For
this to happen the photographer must overcome the fear that most people have about talking to
strangers. It is a little like door to door sales. The fi rst contact is always the most nerve racking.
The more you connect, the easier it becomes.
An honest document
Some people fi nd the projective approach (used by many photojournalists) controversial, and
do not like the degree of manipulation involved in assembling a story which is claiming to be an
accurate and honest record or document. On the other hand all photographs are a manipulation of
reality to some degree. The selection of timing and framing is a manipulation in itself. As soon as
a character within a story makes eye contact with the photographer the event has been changed
or manipulated. Without manipulation and interaction the resulting stories can appear detached
and shallow. Each individual photographer must weigh up the advantages and disadvantages of
working in a projective style. The photographer must personally feel comfortable that the story
being created is an accurate translation of events, people and circumstances. Photographs are
however just that, a translation, and each story teller will tell their tale differently.
Shane Bell