Photographs can be objective but the truth portrayed through an image’s values is more important than the factual reality of the photo (Boeyink and Borden, 2010). Perception and its relationship with the nature of objectivity is an important facet in the realm of photography and objective thought. Examining a contemporary empirical example, being the above photograph illustrating the release of two Al-Jazeera reporters, and the image’s context will be used to highlight the importance of truth over fact in a story’s narrative. The relationship this image shares with the concept of advocacy journalism exemplifies truth and objectivity regarding the photograph’s values. Furthermore the association the image has with democracy and the Fourth Estate elucidates the importance of the perception and communication of truths in narrative.
For a robust comprehension of the objective nature of photographs, delving into the theory of objectivity is necessary as well as the context of imagery. What one deems objective relies heavily on their ability to perceive (Mullen, 1998, pp. 1 – 16). There are two subdivisions of comprehending objects, those that can be seen and those that are distant and obscure (Rist, 1972, pp. 37 – 39). Perception is the way in which our brains consolidate and process information gathered by these two sources and formulate truths. It’s impossible to encapsulate an entire event within a photograph but what can be captured is a specific moment in time, an object that can be seen and gives meaning (Rist, 1972, pp. 37 – 39). In terms of biology, everyone perceives and processes images in the same way, through the functioning of the eye and the interpretation of the brain (Mullen, 1998, pp. 1 – 16). That is objective truth, from there thought and experience become the prime factor in perception, in ascertaining an image’s meaning (Mullen, 1998, pp. 1 – 16). In news photography what is shown are images that encapsulate brief moments in time that have their own context, their own distance and obscurities (Rist, 1972, pp. 37 – 39), that present the reader with a visual truth in regards to the narrative of the story (Lowe, 1995, p. 57). Objectivity theory and human perception are key elements in constructing truth through an image’s values, without solely relying on a picture’s factual composition.
The above photograph is an objective image and its composition and context will provide a boundary for the ways in which photographic truths can be explored. The picture shows two Al Jazeera reporters, Mohammed Fahmy and Baher Mohammed and their wives, shortly after the release of the two men from prison on the 23rd of September, 2015 (El-Ghobashy and Kholaif, 2015). The image was taken by Amr Nabil of the Associated Press, an Egyptian photographer who has contributed to both liberal and conservative outlets in Egypt and internationally (Nabil, 2008). Nabil and the subjects chose everything about this photo. Nabil selected the lighting and framing whilst Fahmy, Mohammed and their wives chose the symbolism and positioning which all contributed to the values that the photograph is able to represent (Lowe, 1995, p. 57). This image exhibits a moment in time that was clearly constructed but this is an important element that will be explored further through the theme of advocacy journalism (Gunning, 2004, p. 44). The image of the two Al Jazeera journalists, its context and construction, highlight a moment in time that has values of truth more critical than fact.
Advocacy journalism and the notions of truth and objectivity share a dynamic interplay within the realm of photography and this interplay highlights journalism’s relationship with truthful narrative. The narrative in the case of Fahmy and Mohammed was one of oppression and freedom that called for advocacy journalism. Sue Careless (2000) of Canada’s The Interim, defines an advocate as “someone who speaks or pleads on behalf of another, giving the other a face and a voice”. The above photograph was published in the Wall Street Journal and from composition to outlet it’s an image constructed for a Western audience. It’s an image that allows this Western audience to understand the feelings and emotions that saturate the story (Hall et al., 1978), it advocates for the freedom of these men to be able to express their ideas and not to be oppressed, in a compelling manner (Careless, 2000). The composition that’s so appealing to this audience is one framed to resemble a happy family picture, that’s the facts of the image. The picture has no intention of concealing its bias for these men, nor does it hide the editorial opinion (Careless, 2000). Even though the framing and positioning portrays the image as something constructed there is still objective truth in it (Lowe, 1995, p. 57). The photograph is a mere moment in the evolution of the event, just because there was an awareness of being photographed doesn’t change the overarching narrative (Hall et al., 1978). Images preceding and after this photograph show elated and incredulous individuals and because it was structured this way it may give the image more truth than if it was candid, as it declares to the audience the true feelings of those pictured. There is no covert posing to make the image more aesthetically pleasing, no imitation of action, just positions chosen to convey the story without taking anything wildly out of context or dispensing propaganda (Careless, 2000). Advocacy journalism reflects the values of truth accurately within the realm of photography and more specifically the story of these two Al Jazeera reporters.
Democracy and the media’s role as the Fourth Estate play a major part in the promotion of truth through the values of objective photography. Theorised by John Keane (1991) in The Media and Democracy, the role journalism plays in society is one that limits parliament’s power by the rights of individuals to speak and publish their views freely (Keane, 1991, pp. 4 – 17, 37), the exact kind of freedom that was denied to Fahmy and Mohammed in Egypt. The image of these men, the symbolism captured, reveals much more than the fact that it was a press photo opportunity. The imagery of the peace sign shown by Fahmy or the thumbs up shown by Mohammed and his wife are essential to the perception of the photo and a truthful and objective understanding of the event (Lowe, 1995, p. 57). It’s the right of a free press to publish their views according to the theory developed by John Locke and John Asgill and further prompted by a public very attentive to the constitutional evolutions of France and America (Mills and Barlow, 2014, pp. 41 – 42). When analysing the photograph with political intention one can see that Nabil positioned it in a way that illustrates a ‘left’ and ‘right’ side. On the ‘left’ side of the image is Fahmy, the Canadian citizen, and his wife who are both dressed casually in what one might perceive as Western attire. On the ‘right’ is Mohammed and his wife, both Egyptian citizens with his wife dressed in traditional clothing of her culture yet standing independently (Stathos, 1995). What this connotes about the imagery, what Amr was able to capture, is that the role of a democracy is a highly important value across a broad cultural spectrum. The press plays an important part in the separation of Church and State and especially in the context of state control (Basen, 2012), the type of control exercised in this story. It’s the rights of individuals that the press also shares (Keane, 1991, pp. 4 – 17, 37). Journalism and democracy are harmonious displayed by journalism’s fourth estate role in society, promoting objective truths. The role of democracy and the Fourth Estate is integral to the human perception of imagery and the importance of truth over the factual reality of an image.
Objectivity is a difficult concept to approach and to define. Cognition is where a person’s ability to perceive something loses what is traditionally thought of as objective. Explaining this through the image of Fahmy and Mohammed after their release reveals much about the role truth plays in both the realms of objectivity and photography. Advocacy journalism in relation to a photos ability to portray the truth of a narrative is an essential concept within human perception. The notion of democracy and the Fourth Estate also link to an image’s ability to portray truth. Essentially objective imagery is wholly bound to human perception but the values of truth portrayed by a photograph exceed its factual reality.
Harrison Johnstone 