Week 2 of Photography looked into ways that it is used as a social aspect in daily life. Reading through Susan Sontag’s ‘On Photography’, we looked through the various distinctions between the implicit and explicit uses of photography. Through the text, photography acts as a way to ‘furnish evidence’ to experiences of life (Sontag, 1977, p.g 3). Without a photograph, how can you prove that something happened? Similar to the practices of memorizing achievements, such as a wedding or winning an award. We take photos to remember our achievements and to show a physical memory captured in an image (Sontag, 1977). It can begin as a lengthy journey of symbolism, family trees, and the growth of our lives from childhood to adulthood. Sontag explored many different features of social acts when it comes to photography. Throughout time, it has become a social practice rather than an art form, as nearly everyone with a camera device uses it every day (Sontag, 1977). It helps take possession of space to not feel insecure and to certify experiences. It promotes nostalgia and sentimentalism.

From the reading, I have gained insight into how I used photography every day without realising it. From my experiences, I always take a photo of something when I am out, whether it be an event, holiday or simply going to a restaurant. I always take a picture to remember something significant from that day. Sontag’s ‘On Photography’ made me realise I use photography as a social rite of sentimentalism and a way to describe an event within photographs.

During class, we began exploring the ‘Pecha Kucha’ student presentations of photographers that have inspired us. Relating back to Sontag’s ‘On Photography’, many photographers presented in class related to Sontag’s idea of how photographs can turn experiences into a way of seeing. From my peer’s presentations, I discovered new photographers in my bubble such as Max Dupain, Gordon Parks, and William Eggleston in how they create sentimentalism in their photography based on how they see the world in photographs. They create messages that constitute their attraction, such as Dupain who captures the surfer paradise concept in Australia. Parks, who focused his photography on civil rights and race-related aspects in America. Finally, Eggleston who is inspired by pop art when creating his work. Discovering these photographers inspired me to look deeper into the appropriate context and feeling of the pieces that are wanting to produce a desire or moral feelings. Awaken our conscious mind.

REFERENCE

Susan Sontag, c. 1977, ‘On Photography’, Rosettabooks’, Accessed 24th July 2023, URL: https://rmit.instructure.com/courses/122663/files/33044619?wrap=1