Thoughts on the subject of 'exploitation' in photography.
, where I offered my perspective on why rules and doctrines around decision making can diminish your ability to stand behind your work, justify your decisions, and really take responsibility and ownership over your vision.
Exploitation in photography is not always as morally straightforward as in other areas, as with the exploitative situations of corporations siphoning water from a reservoir, or deforestation. Some photographs are straight-up literal crimes, but those aren’t where discussions on exploitation usually take place – nor should they be, just the same as when a photograph may lead to visceral harm.
Perception of the viewer can often matter more than the photographers’ intent, and it is far easier to find a photographic practice disrespectful if the viewers’ relationship with photographs, in general, is that they are disposable. If the viewer is taking in hundreds or even thousands of images a day on social media then it is not a stretch to understand why they may view photography as ephemeral vapor, entirely disposable.
There is the additional dilemma of dual use of photographs – I have made photographs that work well as powerful cores to wider projects, but which I have also used as advertisements for my workshops, or to accompany unrelated articles as an illustration to a point rather than in their intended original context. There are photographs I would not use in advertisements, but even the ones I do use I pay attention to in order to avoid diluting, as described above.
I ask this sincerely because I don’t know that there are satisfying answers that match up an ideal theoretical framework with the sheer diversity of photographic practices. When someone breaks the law there is a clear step-by-step process that holds them accountable for their illegal action. When someone desecrates a social taboo then that can be analyzed within the parameters of that society.
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